sign in sign up
<<
Home , Adam Rudolph, After Service, American Jazz Museum, Binky Griptite, Bosco Mann, Breaking Me

February 2018 VOLUME 85 / NUMBER 2

President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins Editorial Intern Izzy Yellen

ADVERTISING SALES

Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 jenr@.com

Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected]

Advertising Sales Associate Kevin R. Maher 630-941-2030 [email protected] OFFICES

102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected]

CUSTOMER SERVICE

877-904-5299 / [email protected]

CONTRIBUTORS

Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; : Fred Bouchard, Frank- John Hadley; : John Corbett, Alain Drouot, , Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; : Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; : Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, , Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; : Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: ; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.

Jack Maher, President 1970-2003 John Maher, President 1950-1969

SUBSCRIPTION INFORMATION: Send orders and address changes to: DOWNBEAT, P.O. Box 11688, St. Paul, MN 55111–0688. Inquiries: U.S.A. and Canada (877) 904-5299; Foreign (651) 251-9682. CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include current DOWN- BEAT label showing old address. DOWNBEAT (issn 0012-5768) Volume 85, Number 2 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-2970. Copyright 2017 Maher Publica- tions. All rights reserved. Trademark registered U.S. Patent Office. Great Britain regis- tered trademark No. 719.407. Periodicals postage paid at Elmhurst, IL and at additional mailing offices. Subscription rates: $29.99 for one year, $54.99 for two years. Foreign subscriptions rates: $56.99 for one year, $106.99 for two years. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork. Nothing may be reprinted in whole or in part without written permission from publisher. MAHER PUBLICATIONS: DOWNBEAT magazine, MUSIC INC. maga- zine, UpBeat Daily. POSTMASTER: Send change of address to: DownBeat, P.O. Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale January 16, 2018) Magazine Publishers Association. Á

4 DOWNBEAT FEBRUARY 2018

FEBRUARY 2018

ON THE COVER

32 Christian

Scott aTunde COURTEST OF ARTIST Adjuah ‘Speaking to All Human Beings’ BY JENNIFER ODELL The trumpeter discusses his ambitious three- series, The Centennial Trilogy, which inspired by current events as well as the 100th anniversary of the first recordings. We 26 sit down with one of the most exciting artists in jazz in his hometown of New Orleans.

FEATURES Danny Janklow’s leader debut is titled Elevation. Cover photo of aTunde Adjuah shot by Erika Golding at the New Orleans Jazz Market on Oct. 24. 38 Victor Wooten Shared Awareness BY DAN OUELLETTE

5-Star Review 44 Person +++++ Always Close-by BY TED PANKEN 48 ‘The Work I’ve Done’ BY GEOFFREY HIMES

53 209 Great Jazz Venues 80 Stacey Kent 83 Adam Rudolph 87 Nestor Torres 91 Marta Sánchez The Best Places To Hear Live Jazz Worldwide

RECORDING SCHOOL DEPARTMENTS 96 Affordable, 106 Toolshed High-Quality 8 First Take Studio Mics Wee Willie Walker BY KEITH BAUMANN 10 Chords & Discords 77 Reviews 100 Master Class 13 The Beat BY BRIAN LANDRUS 110 Jazz On Campus 104 Transcription 26 Players Sax Solo Danny Janklow 114 Blindfold Test Akiko Tsuruga Tia Fuller

6 DOWNBEAT FEBRUARY 2018

First Take BY BOBBY REED BOBBY REED

Ingrid Jensen (left) onstage with her sister Christine Jensen at Dièse Onze in Montreal on July 1, 2016 Concerts That Defy Time A GREAT CONCERT CAN FREEZE TIME. A The entire room felt electric. The band roared great concert in a great venue can be one of life’s like an unstoppable machine. most memorable, fulfilling experiences—and Another particularly memorable night was I’m speaking as a fan and journalist, not as a July 1, 2016, when I went to Dièse Onze in professional musician. Montreal to see a quintet co-led by the gifted Some performances are so dazzling that siblings Ingrid Jensen () and Christine they get seared into our memory banks, cap- Jensen (). The music was adventur- tured for decades, and we’re able to call them ous yet entirely engaging, the room had great up repeatedly, just like accessing a clip on acoustics, the crowd was attentive, and the YouTube. I saw perform on food and beverages were superb. Everything July 11, 1986, and I remember it like it hap- about the show—the sight lines, the music, the pened last month. In my mind’s eye, I can still cuisine, even the temperature of the room— see his nimble fingers working those pistons as coalesced into a transcendent experience. As the stage lights shone on the bell of his trumpet, a patron, I felt like the club’s staff cared about creating sunbursts. I was hypnotized. my comfort. But more importantly, Dièse Onze That same year, I saw a memorable perfor- had created an atmosphere in which the Jensens mance by at an outdoor fes- could create mesmerizing improvisations. tival. He had stepped in to take the place of a Whenever I go to a jazz club, I care more scheduled headliner who had recently died: about how the venue treats the artists than how Benny Goodman. it treats me as a patron. After all, if the artists Those two shows stand out in my mind par- are treated well, they’re more inclined to do tially due to the overall context. The Wynton their best work. show was the first time I had seen the trumpet- On page 53 you’ll find our International Jazz er in concert, and his staggering chops matched Venue Guide, which includes listings for 209 the hype that I had read in the press. clubs around the world. We hope that this guide The Hampton show was bittersweet event. will help you discover artists and venues that On one hand, I was savoring the opportunity you’ve not previously encountered. Within the to see and hear the flurry of the vibraphonist’s guide, you’ll also find features on several clubs, mallets in action. But I was also lamenting the including Dièse Onze (see page 70). fact that I would never get to see Goodman— We’d love to hear your thoughts about your the man who had provided the soundtrack to favorite (and least favorite) jazz clubs. So, the many afternoons spent at my grandparents’ next time you have a particularly memorable house when I was a child. experience at a jazz venue, please send an email Other shows are special because of the to [email protected] and tell us about it. venue and the entire sensory experience. Such And be sure to tell the venue operator, too. Your was the case when I caught the Lucas Pino No constructive feedback might be the key that Net Nonet at Smalls in New York on Sept. 26. helps a venue to flourish. DB

8 DOWNBEAT FEBRUARY 2018

Chords Discords

Way More DownBeat Material I am a longtime reader who started sub- scribing to DownBeat in 1974 while I was in col- lege. John McLaughlin and the Mahavishnu Or- chestra was my gateway to jazz and DownBeat was my monthly cover-to-cover read. Here we are 40-plus years later and I always seem to want more than what I get monthly from the print magazine. I’m wondering if you might start delivering much more daily content CENTER FOR THE ART OF PERFORMANCE on your Facebook page—perhaps things that don’t make it into the magazine, plus photos, RACHEL MURRAY/GETTY IMAGES FOR UCLA’S videos, reviews, etc.

KEN HUNT SACRAMENTO,

Editor’s Note: Check out downbeat.com, where you’ll find hundreds of interviews, reviews and news stories that are exclusive to our site. And please like us on Facebook, which we often use to link readers to exclu- John McLaughlin at the final stop on his farewell sive articles posted at downbeat.com. U.S. tour at Royce Hall in Los Angeles on Dec. 9

David Virelles (left) at Satisfied Customer at the 2017 Winter Jazzfest in New York I started reading DownBeat back in the 1960s and have read it on and off ever since. I was spurred to write this note after reading Frank-John Hadley’s Xmas record reviews in the Holiday Gift Guide of your December issue. That’s just one example of how DownBeat leads me to great new artists and .

PETER J. LOGAN SAN FRANCISCO

JATI LINDSAY Defining a Masterpiece Digging the Digital Edition The soul-searching First Take essay by I want to compliment you on the digital Bobby Reed in your January issue rightly subscription. While I am largely a “print guy” wrestles with a basic mission of your iconic when it comes to my reading—I work in IT and magazine: letting readers know which re- I stare at a screen most of the day—I do enjoy cordings deserve special attention. the convenience of having several issues on As an avid fan, consumer and DownBeat my iPad and being able to take them with me reader for more than 40 years, I encourage wherever I go. The PDF format is ideal—nice you to embrace this responsibility more pro- and simple and readable on any device without ductively. There’s a lot of really good mu- special software. Well done, DownBeat!

sic being made, but your grade inflation is JOE FRANK [email protected] hurting the culling process. Your January issue included a list of 23 “masterpieces” released in 2017. Really? Do your critics’ choices rightly belong on a hal- More Accolades for Wynton lowed list next to Kind Of Blue, A Love Su- Congratulations to Wynton Marsalis on preme, For Alto, The Inner Mounting Flame his Downbeat Hall of Fame induction. What and The Big Gundown? Are they similarly he has done for jazz is remarkable. It’s not just breaking ground, setting new standards his outstanding voice as a jazz ambassador; and establishing all-time touchstones? it’s also his incredible trumpet playing and his I’ve listened to many your 2017 “master- compositions. In this era of being “out” just for pieces” and I think David Virelles’ Antenna the sake of being “out,” it’s so refreshing to alone might merit the esteemed 5-star rating. have Wynton burning the flames of swing. He When you publish a phone book of “master- understands that swinging and having a mel- pieces” and “excellent” albums of the year, it ody are still valued. dilutes both the usefulness to the reader and KEVIN MCINTOSH the magazine’s status as an important jazz tas- STERLING HEIGHTS, MICHIGAN temaker.

MARTIN WISCKOL Have a Chord or Discord? Email us at [email protected] HUNTINGTON BEACH, CALIFORNIA or find us on Facebook & Twitter.

10 DOWNBEAT FEBRUARY 2018

12 DOWNBEAT MAY 2016 News Views From Around The Music World The Inside

14 / Tampere 15 / Matt King 16 / Satoko Fujii 19 / Four Freshmen 22 / DR Jazz Fest 24 / 25 /

Lynell Wins Competition he finals of the Sarah Vaughan TInternational Jazz Vocal Competition often emphasize standards. The vocal- ists who vie for cash prizes and a recording con- tract at the Performing Arts Center ANTHONY ALVAREZ in Newark perform material from the Great American Songbook—tunes that Vaughan her- self infused with operatic richness over a career that lasted nearly a half century. Yet one pivotal performance during the competitive and enter- taining sixth-annual contest in Vaughan’s home- town on Nov. 12—held as part of the TD James Moody Jazz Festival—was a bawdy blues number. As Quiana Lynell, a Loyola University New Orleans adjunct music professor from Baton Rouge, Louisiana, took the stage to sing her last song as a finalist, she cheerfully announced: “I’m about to turn this [hall] into a juke joint, if you don’t mind.” The finalists at the 2017 Sarah Vaughan International Jazz Vocal Indeed, after an afternoon of mostly lucid Competition were Fabio Giacalone (left), Tatiana “LadyMay” Mayfield, Tiffany Austin, Christine Fawson and Quiana Lynell, who was crowned the winner. lyrics set to poignant harmonies and breathtak- ing melodies, the audience in NJPAC’s Victoria to focus on building a career as a jazz sing- pelling dynamism, topped off a trio of songs Theater seemed ripe for a change of pace. Lynell er while teaching part-time at Loyola. In with a mesmerizing performance of “Fools Rush then ripped through the 12-bar blues “Hip May, she performed at the New Orleans Jazz In.” The impact of her trumpet on her singing Shakin’ Mama.” But the singer didn’t simply & Heritage Festival, and trumpeter Terence was undeniable. As Fawson sang behind the grind out a blues; she painted a picture, shad- Blanchard has invited Lynell to perform with beat and held long notes, she imbued the nar- ing and coloring the lyrics with strong tech- his quintet in a series of collaborative outings rative with a seamless continuity that enhanced nique. When the song concluded, she owned with symphony . her believability. the room—and was on her way to being No. 1 Second place went to Tatiana “LadyMay” Mayfield served up a medium-tempo on the judges’ scorecards. Mayfield of Fort Worth, Texas, who received a reading of “On Green Dolphin Street” that “I am at home in the blues,” Lynell told $1,500 cash prize. Christine Fawson, a faculty suited her naturally sweet vocal tones and DownBeat after capturing the $5,000 first member at who sang provocative phrasing. prize cash award and an offer to record for the and played solos on trumpet, finished third and Judges for the finals were Gary Walker, a Concord label. “The foundation of jazz is the took home $500. veteran host for jazz radio station WBGO; sing- blues. Just play the blues and you will be all The other finalists were New York-based ers Ann Hampton Callaway, Vanessa Rubin and right.” Fabio Giacalone, the first man to perform in the Will Downing; and composer, bandleader and With her victory, Lynell joined the ranks of competition under a rule change this year allow- drummer T.S. Monk. previous winners Cyrille Aimée (2012) and ing male singers, and Northern California’s Backing the singers was a trio led by pianist Jazzmeia Horn (2013). Tiffany Austin, whose 2015 album, Nothing But Sergio Salvatore, with Buddy Williams on Lynell said she gave up a full-time job as Soul, received strong reviews. drums and Gregory Jones on bass. an elementary school music teacher last year Fawson, a distinctive performer with com- —Michael Barris

FEBRUARY 2018 DOWNBEAT 13 Riffs MAARIT KYTÖHARJU

Miles Davis (left) and ©JEAN-PIERRE LELOIR

Miles & Trane ‘Bootleg’: On March 23, Shabaka Hutchings performs with his band Columbia/Legacy will release & The Ancestors at the 2017 Tampere Jazz Happening in Finland. John Coltrane–The Final Tour: The Bootleg Series, Vol. 6. Available in a four-CD box set as well as digitally, this installment of the Adventurous Artists Miles Davis Bootleg Series compiles concert performances from the Spring 1960 European Tour, when Flourish at Tampere Coltrane was a member of Davis’ band. The set’s extensive liner notes include an essay FINLAND’S 36TH ANNUAL TAMPERE JAZZ with North African music styles. Elements of by Ashley Kahn. A two-LP vinyl edition of Happening (Nov. 2–5) gave adventurous artists swing swirled in the air. At one point, Youssef, Miles Davis & John Coltrane–The Final a terrific forum. The fest took place in the usual who also contributed haunting, lovely vocals, Tour: , March 21, 1960 will be available comforts of three venues: the intimate, 400- was heard to quip between numbers, “I want our exclusively through Vinyl Me, Please as part seat Klubi; the acoustically resonant, 600-seat music to help bring peace to the world. That’s of its VMP Classics subscription program. Tullikamarin Pakkahuone; and the cozy, 200- why I have American musicians.” After elicit- More info: vinylmeplease.com seat Telakka. ing laughter from this packed house, he added, Jazz at the Moss: In partnership with the The fest got rolling at Klubi on a Thursday “It’s also good for commercial reasons” to more Jazz Bakery, the Moss Theater in Santa night with a series of shows and a celebration of chuckles. Monica, California, will present concerts by jazz from neighboring, continental Estonia (just Other highlights included Swiss keyboard- Larry Koonse & Larry Goldings (Feb. 10), the across the pond from Helsinki and Tampere). ist/composer Nik Bartsch’s mesmerizing “acous- Trio (Feb. 14), the Benny Three Spotlight On Estonia events showcased tic zen ” Mobile band, Nigerian drum- Green Trio (March 3), Alfredo Rodriguez some of the country’s variety, beginning with mer Tony Allen’s “Tribute to ,” two (March 10) and Anthony Wilson (March 31). the Kirke Karja Quartet featuring pianist/com- impressive bands from British saxophonist More info: jazzbakery.org/events poser Karja in a mixed set of unconvention- Shabaka Hutchings (The Ancestors, The Comet al acoustic jazz. Vocalist/pianist/violinist Kadri Is Coming), the experimental Fifth Man with Legendary Hall: On Feb. 1, SFJAZZ will hon- or New Orleans’ Preservation Hall with the Voorand performed in a duo setting with bass- British saxophonist Evan Parker and turntables SFJAZZ Lifetime Achievement Award. The ist Mihkel Malgand, the pair’s strong interac- (a band created especially for TJH), and veteran gala program will feature performances by tion spiced with a touch of electronics from the Finnish saxophonist Eero Koivistoinen playing a Preservation Hall Jazz Band, Ellis Marsalis, fiery Voorand. The evening’s music ended with robust, straightahead quartet set at Telakka. , Chucho Valdés, SFJAZZ the energetic jazz-rock of Heavy Beauty, a quar- Among the other important European art- Collective, Pedrito Martinez, Christian Scott tet headed up by guitarist Jaak Sooaar. ists on hand, one deserves more than merely a aTunde Adjuah, Airto Moreira and others. All told, there were 10 events, in which, alto- mention: Finnish trumpeter Verneri Pohjola Proceeds will support SFJAZZ’s artistic and gether, 25 ensembles performed. Every one of the received his country’s top jazz award, the education programs. shows was filled—if not to capacity, then close to Yrjo Jazz Prize. The ceremony, held Nov. 3 in More info: sfjazz.org/gala it. American bands included Jojo Mayer’s Nerve, Pakkahuone, was capped off by an intriguing, Final Bar: Drummer Sunny Murray, who ’s Five Elements and New Zion with engaging free-improv duo performance between explored free-jazz styles as a leader and as Hamid ; other groups were populated with Pohjola and longtime partner drummer/percus- a collaborator with Cecil Taylor and Albert various U.S. artists. One of them that served as a sionist Mika Kallio. Ayler, died on Dec. 7. He was 81. … Willie top festival surprise was Dhafer Youssef’s “Diwan The following afternoon, also in Pickens, 86, died Dec. 12 of a heart attack of Beauty and Odd” show. Tunisian oudist/vocalist Pakkahuone, Pohjola was guest artist with while preparing for a performance at New Youssef was joined by pianist Aaron Parks, Icelandic pianist Sunna Gunnlaugs’ trio featur- York’s . Based in Chica- Matt Brewer and Philadelphia phenom drummer ing Finnish bassist Porgrímur Jónsson and U.S. go, the versatile pianist and educator played Justin Faulkner at Pakkahuone on the final day. drummer Scott McLemore in a set of Gunnlaugs’ with , , Dexter With all three rhythm players in a semi-cir- originals that were filled with gentle cadences Gordon, and . … Guitarist , who worked with cle, Youssef energetically moved from player and waltzing vamps. , , Carmen McRae to player in intimate dialog, all the while play- Earlier this year (April 28) at jazzahead! in and Tony Bennett, died Dec. 2 at age 95. He ing his oud either ferociously or with great ten- Bremen, Germany, Tampere Jazz Happening— was closely associated with the Monterey derness. The time signatures were varied and and its artistic director, Juhamatti Kauppinen— Jazz Festival during the 1970s and ’80s. intricate. The band played as one, their kind of received the 6th Europe Jazz Network Award for Mahavishnu vibe perfectly melding Adventurous Programming. —John Ephland

14 DOWNBEAT FEBRUARY 2018 Pianist King Cuts a ‘Brazil-ified’ Monk Groove IN MUSIC, AS IN BIOLOGY, SOMETIMES THE elicits strong contributions from whiz offspring of two genetically dissimilar parents Chico Pinheiro and multi-reedist Anton Denner. can be a hybrid with its own character and charm. Monk In Brazil started four years ago when Journeyman pianist Matt King, a self-de- King was fooling around with a Monk tune PHILLIP KING scribed “lifetime improviser and career free- on —he no longer recalls which one— lancer,” has for years nurtured twin passions for and realized it worked as a samba. “As soon as and Brazilian music. His new it occurred to me that I could ‘Brazil-ify’ that album, Monk In Brazil: Re-grooving The Music tune, I started pulling other Monk tunes out Of Thelonious Monk, was released in October to of my head and trying them with a Brazilian help commemorate Monk’s centennial. It fea- groove,” he said. Not content to record only in tures a dozen tunes, some well-known and some the familiar samba and bossa nova styles, King rarely covered, married to various Brazilian deepened his familiarity with other Brazilian rhythm styles and played by an exceptional cast regional genres, then searched for Monk tunes of Brazilian-American musicians. A brilliant that would work in those settings. concept boldly executed, it may well prove to be The resulting list yielded roughly 20 Monk King’s breakthrough as a pianist and arranger. , whittled down to an album The revered Brazilian musician/composer that includes 12 songs and nine Brazilian Hermeto Pascoal used to say that Thelonious styles. Some have familiar melodies, like Matt King Monk was “the most Brazilian of all American “Bemsha Swing” (done as a maracatu), “’Round jazz composers,” according to pianist/compos- Midnight” (bossa nova) and “Let’s Call This” With Nellie” begins as free-jazz with a host of er Jovino Santos Neto, a close Pascoal associate. (baião). The rarely heard “Brake’s Sake” and the Brazilian percussion and sound effects played “King proves the point” with this album, Neto more familiar “Ugly Beauty” are done as sam- by Fernando Saci and Emedin Rivera before said, citing creative arrangements that “enhance bas. Then there are “Four In One” (frevo), “Light segueing into a samba. Monk’s music without harming its DNA.” Blue” (xote), “Jackie-ing” (afoxé), “Work” (parti- Monk’s defiantly quirky, sometimes humor- Joining King on the album are two crack do alto), “Played Twice” (baião) and perhaps the ous, often profound musical ideas are still pres- Brazilian-American rhythm sections: elec- most unusual track, “Skippy,” done as a choro, ent, but refracted through the warm, sensu- tric bassist Itaigurara Brandão with drummer featuring a cavaquinho (a kind of Portuguese al and propulsive rhythms of Brazilian music. Mauricio Zottarelli, and upright bassist Nilson ukulele, played by Kahil Nayton) and King’s “I think it makes Monk sexy in a way he hadn’t Matta with drummer Adriano Santos. King also melodica. The much admired “Crepuscule been before,” King said. —Allen Morrison

FEBRUARY 2018 DOWNBEAT 15 Satoko Fujii BRYAN MURRAY

Divergence Highlights Fujii’s Talents

IN MAY 2016, BEFORE A PACKED CROWD AT I-BEAM IN , part of Gato Libre, a trio led by trumpeter and composer Natsuki Tamura, Satoko Fujii found herself far from her native Japan. But she was there in her husband of 30 years, and featuring trombonist Neko Jaras. spirit as she conducted her 13-piece New York Orchestra in the American The demands of those two performances were wildly divergent. premiere of her suite Fukushima, a searing evocation of the nuclear disas- Fukushima is a monumental work that, in its disorienting clash of collec- ter that struck that Japanese city in 2011. tive improvisation and notated ensemble playing, requires the conjuring Last November, Fujii was back at I-Beam, this time in a more modest of organized chaos. The November material was an exercise in minimalist role—that of an accordionist rendering drones and spare counterpoint as melody-making that called for a lighter touch. But in their divergence, they hinted at the scope of Fujii’s talents. And they did so without her even approaching a piano, her main instrument and one on which, two days before the trio gig, she had demonstrated a remarkable expressivity as part of a quartet with Tamura, Erik Friedlander on cello and Ikue Mori on laptop at The Stone. In that series of free impro- visations, Fujii fully exploited the piano’s attributes—from the keyboard to the soundboard—and, in an impressive display of extended technique, augmented those attributes. Relaxing in a Brooklyn café before the November performance at I-Beam, Fujii, 59, noted that she had not always been so expansive. After studying classical music as a child and jazz in her 20s with pianist Fumio Itabashi in Tokyo and at Berklee in Boston, she returned to Japan and fell into a scene she found stifling. So, in her mid-30s, she returned to Boston, where she sought out a piano idol, , with whom she studied while attending the New England Conservatory. Bley’s lessons, which consisted largely of conversation over cappuccinos, eased her toward self-expression. “He encouraged me to play my stuff,” she said. Eventually, the relationship yielded a duo album, 1996’s Something About Water (Libra Records), a glistening dance executed by two like-minded artists operating at the edge of abstraction. “That was a big thing for me,” she said. “I started to accept myself, little by little.” Since then, she has released dozens of albums, many with leading avant-garde musicians like trumpeter Wadada Leo Smith. Smith appeared in peak form with Fujii, Tamura and Mori on Aspiration, released in September. Bracketing that release were the June release of Neko and the December release of Fukushima. For Fujii, the pace of activity promises to accelerate in 2018. In celebra- tion of her 60th birthday, she plans to release an album every month. At the same time, she will pursue a full schedule of performances, includ- ing a tour of Europe in May and Canada in September. All of which, she explained, is in service of her ongoing introspection. —Phillip Lutz

16 DOWNBEAT FEBRUARY 2018 SHARONNE COHEN

Saxophonist Chet Doxas (far right) leads his band as artwork is projected on a screen at Artgang Montréal on Sept. 7. Chet Doxas Combines Sonic, Visual Art Forms ON SEPT. 7, SAXOPHONIST CHET DOXAS on more than 100 recordings, working with a promoted his new album with a multimedia broad range of artists, including Carla Bley, Rufus concert at Artgang Montréal, in his hometown. Wainwright, Maria Schneider and Oliver Jones. Visual art created by Jean-Michel Basquiat, Robert His discography also includes eight albums as Mapplethorpe, Keith Haring and Fab 5 Freddy a leader or co-leader. Relocating to New York in was projected onto a screen behind the band, as 2014, he began co-leading the group Riverside it performed a corresponding “soundtrack,” chal- with trumpeter Dave Douglas. He is also part of lenging the audience to contemplate an intriguing the Brooklyn-based group Yes Men No with pia- question: What do paintings sound like? nist Jacob Sacks, bassist Zack Lober and drummer Doxas’ new album, Rich In Symbols Vinnie Sperrazza. (Ropeadope), features evocative music, blend- The core ensemble for theRich In Symbols ses- ing electric indie-rock into a unique jazz aesthet- sions includes Matthew Stevens (guitar), Zack ic. Drawing inspiration from New York’s Lower Lober (bass) and Eric Doob (drums), with spe- East Side “No Wave” movement of the 1970s and cial guests John Escreet (who contributes piano ’80s, Doxas has created music tied to his love of the on “Orchard”), Dave Nugent (guitarist with the visual arts. He created the artwork for the album Sam Roberts Band) and Douglas. Liam O’Neil cover, and all seven compositions were composed produced the album and plays on during visits to New York museums. the album. The pieces range from uplifting, soar- “The two main museums I went to were the ing melodies to those conveying deep angst, pure Whitney and the MOMA,” Doxas said over the energy and raw emotion. phone from Paris. “I’d go in there with my blank By projecting artwork as his band played, it manuscript and sit in front of the paintings, and seemed Doxas was urging the audience to not I’d just let it flow. … It’s been the easiest writing be passive, but to actively interpret the sounds process I’ve experienced so far.” and images. “I wanted to give each medium my Doxas explained he has a condition that attempt at equal footing … [so fans would expe- affects his everyday life. “I have what they call syn- rience] a painting as a living, breathing thing,” he esthesia,” he said. “If I see certain colors, I hear cer- said. “[Combining] the artwork and the music is tain chords. But that didn’t play into it as much I something that really excites me. It’s a wonderful thought it would. It’s like I’m scoring these paint- idea to have people all celebrating music and art ings—as if they had a soundtrack. That’s what I together in the same space.” hear. And I try not to get too complicated about The Montreal concert showcased Doxas not it; I do as much research as I can, but I also like only as a highly skilled, imaginative player, but as the idea of treating the painting as a live art form.” an artist who seeks to give his audience an immer- Doxas earned undergraduate and graduate sive experience. “Jazz isn’t jazz without the people degrees in music from McGill University, explor- there,” he said. “Having everybody in the room at ing his rock sensibility through collaborations the same time, celebrating art and music, is a big with Montreal’s Sam Roberts Band. part of the spirit of jazz—watching this musical A Juno nominee (Contemporary Jazz Album painting created right in front of you.” of the Year for Big Sky, 2011), Doxas has appeared —Sharonne Cohen

FEBRUARY 2018 DOWNBEAT 17 in Queens, what emerges is a multidimensional portrait of an artist at the top of his game. “We’re trying to have people understand that he isn’t this carbon-copy cutout,” said Jerry Roche, the series’ producer, who collaborated with the Research Foundation on the project. “He’s not resting on his laurels, not

COURTESY OF DOT TIME RECORDS doing the same solos or the same songs night after night.” From the start, Armstrong, still in his 40s, is clearly seeking a challenge: The collection opens in 1950 at New York’s Bop City, a venue named for an idiom with which he was not associat- ed. Nonetheless, he owns the crowd with bravu- ra renditions of “Royal Garden Blues,” a longtime Armstrong favorite, and “My Monday Date,” by Live performances by Louis Armstrong are compiled on a new release, The Nightclubs. pianist Earl “Fatha” Hines, who joins trombonist , clarinetist Barney Bigard, bassist Arvell Shaw and drummer Cozy Cole on the date. Documenting Armstrong Armstrong’s horn is as potent as ever in 1952 at San Francisco’s Club Hangover, where— inspired by bandmates Bigard, Cole, Russ Phillips on ’50s Nightclub Scene (), Marty Napoleon (piano), Dale Jones EVEN BEFORE LOUIS ARMSTRONG DIED IN He was all of that, to be sure. But he was far (bass) and Velma Middleton (vocals)—he elevates 1971, at the age of 69, his image had begun to more. And that is what Dot Time Legends has warhorses to quantifiably new heights. On “West morph into that of a pop-culture icon. More than captured in Vol. 2 of its Louis Armstrong Legacy End Blues,” for example, he hits 15 high C’s, three 46 years later, he is recalled by many as either Series—The Nightclubs. more than he hit in his Hot 5 and Hot 7 sessions. a revered figure in a “creation” story—the cre- The volume follows Armstrong through Whatever constraints Armstrong might have ation, that is, of jazz—or as a good-natured enter- engagements in five different clubs during the felt in the concert hall loosened when he stretched tainer crooning “Hello Dolly” and clowning with . In 16 tracks culled from the research col- out over weeklong engagements in the inti- show-business heavyweights. lections of the Louis Armstrong House Museum mate settings of clubs, especially when nota- bles like Billie Holiday were in the house. At Club Hangover, Holiday can be heard register- ing her approval at the end of “West End Blues.” Armstrong, in a 42-second soliloquy, introduces her to the crowd before launching into “A Kiss To Build A Dream On.” The freewheeling attitude is pronounced in the treatment of the Armstrong original “Pretty Little Missy,” recorded in 1955 at New York’s Basin Street, and even more so, perhaps, in a sus- tained example of the band’s onstage interaction, reflected in a string of seven tunes recorded in 1958 at Brant Inn in Burlington, Ontario. In one instance—“New Orleans Function,” recorded at Boston’s Storyville in 1953—tapes from multiple sources are sculpted into a single track. While the result is seamless, Roche empha- sized that sonic enhancement was kept to a min- imum throughout the album: “Who am I to start peeling off layers of Armstrong’s trumpet so that somebody could feel better about it [and say], ‘Oh, it sounds 10 percent better’?” That kind of respect was shown the music in Vol. 1, The Standard Oil Sessions, drawn from a concert in San Francisco in 1950. And listen- ers can expect similar treatment in 2018, when Dot Time is planning to release Vol. 3, record- ed in South America in 1957, and Vol. 4, record- ed in Sparks, Nevada, in 1964. volumes are being discussed. “I felt if I was going to do this I needed to have a lot” of releases, Roche said. —Phillip Lutz

18 DOWNBEAT FEBRUARY 2018 70 Years of Four Freshmen THE STAR SYSTEM IN THE MUSIC BUSINESS each later released a solo album through Capitol,” resists longevity because there are no replacement he said. “But neither man had a vision of himself parts for stardom. But with the right custodians, a as a soloist. The shared identity of the group galva- brand, like a song, can live forever. nized this collective talent.” This is why the Four Freshmen, which began Together they created a sophisticated palette RYAN MERRILL PHOTOGRAPHY as a barbershop quartet in 1948, is still on tour of colors whose layers produced a pillowy, often today. From the beginning it avoided the curse of luminous vocal texture. Influenced initially by stardom by becoming a musical apparatus whose the Modernaires, the Mel-tones (with Mel Tormé) parts could swapped and switched without dis- and , their innovations set the bar ruption. Its identity was based on a collective for a handful of jazz-influenced vocal groups at sound, never on a single charismatic soloist. mid-century. In 1950 Kenton discovered them The members of the Four Freshmen are Tommy Boynton (left), Its founding voices were Dan and Ross and brought the group to Capitol, where they Jonathan Gaines, Bob Ferreira and Stein Malvey. Barbour, Hal Kratzsch and Bob Flanigan. None struggled for three years before being dropped. ever saw his name outgrow the group, even Kenton intervened again, and they scored ophones, five , five and more Flanigan, whose career with the Freshmen ran 44 their first important seller, “It’s A Blue World.” . By the late ’50s the Four Freshmen years. Starting in 1954 they began turning out a series was considered a jazz vocal group. “I guess you could say that Flanigan was the of albums that were collected in 2002 on The The Four Freshmen today is an entity that has star in the sense that his lead voice was the most Complete Capitol Four Freshman Fifties Sessions evolved, with 22 singers who have worked in recognizable,” said Bob Ferreira, who is today the on Mosaic. It started with Voices In Modern, then the group since its original members. The cur- Freshmen’s most senior member. “I joined when The Four Freshmen And Five Trombones, which rent lineup includes Ferreire, Tommy Boyton, he retired in 1992. When we found someone who became their biggest seller. Jonathan Gaines and Stein Malvey. could do his lead parts well, that’s when we real- “There was a purity about that one,” Ferreira “We continue by doing new work,” ized that the group was its sound and could con- noted. “The trombones were basically Kenton’s Ferreire explained. “Half of our arrangements tinue without him.” trombone section. That’s really where the Four are things we’ve created in the last 20 years. We The groundwork was laid early, on Capitol Freshmen got their sound and that’s what set the acknowledge our past by moving forward.” Records. The group had a great variety of vocal group apart. They sang like instrumentalists and The Four Freshmen continues to work more qualities, Ferreira noted. “Dan Barbour and Hall that’s how they would approach it—instrumen- than 80 dates a year. A sound from the past, it would Kratzsch could easily have had a solo careers, and tally.” It prompted a series of LPs with five sax- seem, has a bright future. —John McDonough

FEBRUARY 2018 DOWNBEAT 19 VINYL / BY KEN MICALLEF Sanders Reissues Provide Deep Soul Sustenance After joining John Coltrane in expanding the jazz stratosphere over nine pivotal al- bums, including Trane’s Meditations, Ascen- sion and Om, launched his own cosmic ride—one that resonates to this day. One of the few avant garde tenor sax- ophonists to ever score FM radio airplay, with 1969’s “The Creator Has A Master Plan” (from Karma, Impulse!), Sanders was indebted to Coltrane for opening the door through which he plunged. Sanders bur- nished his singular sound on 11 Impulse! albums spanning 1967’s Tauhid through 1974’s . These albums consti- tute the peak meditative plateau within the free-jazz mountaintop. As of 2015 only one of these seminal Dumb Blind), represent eloquently unified albums, Karma, had been reissued on vinyl group identities: equally graceful, medita- (on Verve’s revived Impulse! imprint). That tive, exploratory and brazenly cathartic. gaping hole leaves a remarkable body of Sanders was made aware of the reissue work unavailable to Sanders’ faithful fans project by Keith Abrahamsson, Mexican as well as younger audiences taken with Summer/Anthology Recordings’ co-found- the resilient analog medium. On Nov. 10, er and director of A&R, who brought the Anthology Recordings released three of tenor legend to Marfa, Texas, where he per- Sanders’ Impulse! titles on vinyl: Tauhid formed with his quartet at the Marfa Myths (1966), (1969) and Deaf festival. Dumb Blind aka Summun Bukmun Umyun Was the three-LP set cut from the orig- (1970). inal tapes? With the newfound interest in ’60s “Unfortunately, no,” Abrahamsson ex- and ’70s avant garde jazz—the consequent plained. “We were told that tapes no longer style dubbed “spiritual jazz”—legion young exist, so we cut from sealed original LPs. Not musicians draw on music pioneered by ideal, but we did our very best to treat these Coltranes John and Alice, Sanders, Albert classics with the reverence they deserve.” Ayler, Dorothy Ashby and a lesser known The three classics are easily digestible cadre whose tendrils circle the globe. Kama- as a single blissful listening experience. si Washington, Josef Leimberg and Tomeka From the tranquil simmer of Tauhid ’s “Aum/ Reid, among others, represent a Stateside Venus/Capricorn Rising” and the Leon spiritual jazz locus. In London, Moses Boyd Thomas yodeling and scorching tenor sax- Exodus, Yussef Dayes, Nubya Garcia and ophone of Jewels Of Thought’s beautiful Shabaka Hutchings form a parallel Europe- “Hum Allah Hum Allah Hum Allah,” to the an nexus. Afro-Cuban overdrive of Deaf Dumb Blind’s More so than Coltrane’s latter-period “Summun, Bukmun, Umyun,” it’s a joyous Impulse! recordings, Sanders’ Impulse! cat- journey, start to finish. Sander’s “fire music” alog is surprisingly accessible; his plaintive still entrances, uplifts, soothes and chal- cries, and his music’s mal- lenges almost 50 years after its release. leable embrace of globally sourced instru- Ultimately, what constitutes “spiritual mentation within wide-open modal vamps, jazz” is ever changing. provide deep soul sustenance. Tauhid, Jew- “[I have a] definition of spiritual, which els Of Thought and Deaf Dumb Blind con- I have repeated over the years,” multi-in- stitute a kind of neural pathway drill-down strumentalist and composer Cooper-Moore to cerebral enhancement and spiritual en- wrote via FaceBook correspondence. “The lightenment via music. spiritual qualities that I see that are need- These three important reissues, per- ed to do the work: (1) power—strength, the formed by the likes of Dave Burrell, Henry ability to stay on the path even when it is Grimes and (Tauhid); Lon- painful; (2) potential—the sense of always nie Liston Smith, Cecil McBee and Richard being on the ready when the call comes to Davis (Jewels Of Thought); and Woody jump in there; (3) purpose—having vision, Shaw, and Clifford Jarvis (Deaf intent and high motivation.” DB

20 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 21 We Out Here Showcases Underground London Scene SOON AFTER JAZZ RE:FRESHED’S FIFTH and co-founder of Brownswood Recordings. “I annual Jazz Re:Fest concluded in August at wanted to showcase this confident generation at London’s Royal Festival Hall Southbank, sev- an early period in their careers and tell the story eral of the festival’s performers—including of interconnectedness of the people involved,” drummers Moses Boyd and Tom Skinner and Peterson said. COURTESY BROWNSWOOD RECORDINGS saxophonists Shabaka Hutchings and Nubya The nine tunes on We Out Here offer a Garcia—gathered at the Fish Factory studio glimpse of how many of the British scene’s young in London’s Dollis Hill district for three days jazz musicians reconcile modern jazz with other Drummer Moses Boyd (left), saxophonist Nubya Garcia and player Theon Cross contributed to the forth- to record the important compilation We Out elements, such as , Caribbean rhythms coming album We Out Here, on Brownswood Recordings. Here (Brownswood Recordings), which will be and menacing garage dance music. released on Feb. 9. Hutchings, who fronts the MOBO (Music of ‘Yes, there is something happening.’” The rotating sessions featured more than 30 Black Origin) Award-winning ensemble Sons of “It’s incredibly exciting to document where musicians, most of whom are associated with Kemet and the equally formidable Shabaka and we all are music-wise,” added Garcia, whose both the formidable Tomorrow Warriors, a jazz The Ancestors, acted as the sessions’ musical band Nérija won the 2017 Jazz Newcomer education program spearheaded by bassist Gary director. While in the engineering booth listen- Parliamentary Award. “It’s exciting to have us Crosby and his partner Janine Irons, and Jazz ing to tubaist Theon Cross and his band record all on this collaboration. We’ve all grown up Re:Freshed, an expansive jazz-meets-DJ cul- his hypnotic tune “Brockley,” Hutchings com- together in the past few years. These sessions ture platform that hosts weekly showcases at mented on the significance ofWe Out Here. document what we’ve been doing for a couple London’s Mau Mau bar. “We got a lot of young people playing jazz at of years.” We Out Here is a victory lap of noteworthy a really high level, and they are attracting their Emphasizing the eminence of We Out Here interconnected underground scenes in London own audience,” he said. “Bands are starting to was the presence at the recording sessions of that are primed to make stronger imprints across play where they are getting higher recognition photographer Adama Jalloh and videographer the globe. The compilation is the brainchild of from outside of England and throughout the Fabrice Bourgelle, who crafted an accompany- Gilles Peterson, the iconic music impresario mainstream press. This album is trying to say, ing film documentary. —John Murph Dominican Republic Jazz Fest Evolves SUN AND CERULEAN SKY RULE THE AZURE surf, as kite-riders curl arabesques and lively merengue jazz drifts over the waving palms of

Cabarete Beach. Along the silvery sands, from CARLOS PENA seaside bandstand to classroom, move tiers of musicians in shifting roles at the pastel FeduJazz School: Preteens toot and strum, collegians run scales and workshops, elders teach master class- es and rehearsals—all immersed like surfers in the updraft. The Dominican Republic Jazz Festival has for 21 years presented Panamerican music in (left), George Garzone, Sean Jones and soaring shows that cross Stateside bands with Marco Pignataro perform at the 2017 Dominican Republic Jazz Festival. native jazz and merengue groups while nur- turing a strong educational program. Artistic and trombonist William Cepeda (Puerto Rico). ers reach out beyond FeduJazz’s free music pro- Director Marco Pignataro—saxophonist and Italian-born Pignataro’s own Almas grams into community action. Smiles beamed managing director of Berklee College’s Global Antiguas Quartet embodied overseas broth- as Berklee’s grad-student quintet led a noonday Jazz Institute—has expanded the program’s cur- erhood, hosting Israeli bassist Ehud Ettun and concert of kids’ bands playing Thelonious Monk, ricula, and conceives annual themes of tangible Stateside artists Alan Pasqua and Adam Cruz Clifford Brown, James Brown and Vivaldi for a musical and social impact. on piano and drums, as well as Boston tenor diverse audience of 500 preteens. Whereas the 2016 edition’s female bandlead- sax paisano George Garzone; they gracefully DR favorites provided highlights nightly. ers called attention to women’s education explored the leader’s sepia-tint folk songs and the Rafelito Mirabal & Sistema Temperado roared and health, guests at the 2017 festival framed Italian classic “Estate.” old-school merengue riffs, pambiche, samba International Nights exemplifying global unity, “Music affects society, [and it] can inspire and tango on keyboard and four saxes, with with players from all over the world: pianist Alain democracy,” Pignataro said. “We want to bring Pelle Vega on lap cajon (bombakini). Fefita la Mallet and Paris Conservatory (France), Trio da about social change in a new model for student Grande—reigning queen of merengue tipico— Paz (Brazil), clarinetist Anat Cohen and har- training: Give poor kids a T-shirt, an instrument shook booty, squeezed accordion, sang gravelly monicat Roni Eytan’s Quartet (Israel), trumpet- and a sense of belonging. Here theory meets prac- and, with her fast and furious tentet, leapt in the ers and Sean Jones () tice.” The festival’s wider mission had all play- hearts of adoring listeners. —Fred Bouchard

22 DOWNBEAT FEBRUARY 2018 The World Comes to Rio for MIMO AN AMERICAN DEVOTEE OF BRAZILIAN The next day, at the much smaller but pretty music attending a music festival in Rio de Janeiro Our Lady of Bonsucesso church, an unusu- might expect to hear a few familiar sambas and al trio appeared: two accomplished percus- choros, or even a maracatu or baião. Despite the sionists, Simone Sou and Guilherme Kastrup, COURTESY MIMO FESTIVAL occasional samba, however, the Rio edition of and Brazilian jazz pianist/composer Benjamin Brazil’s annual multi-city MIMO Festival, held Taubkin. They, too, employed electronics, with Nov. 10–12, had other things on its mind this synths providing a sonic floor of bass obbli- year: the world of music outside Brazil. gatos and drones supporting urgent flights of Although there were plenty of Brazilian art- Afro-Brazilian percussion, over which Taubkin ists on the bill, the program was dominated by played, by turns, impressionistic chords and the Didier Lockwood performs at Igreja da musicians from elsewhere in South America, occasional post-bop run. —Allen Morrison Candelária in Rio de Janeiro on Nov. 10. Africa and Europe. All the performers, whatev- er their tradition, seemed interested in using tra- ditional materials to create new forms, not cel- ebrating the past. The musical bazaar included MPB (Brazilian pop), Afro-pop, Portuguese pop, jazz, salsa, Middle Eastern-influenced music and unclassifiable music, much of it fascinating, from around the world. MIMO—the name stands for “Mostra (Show) Internacional Musica Olinda”—is the brainchild of music impresario and Lu Araújo. The festival has been around since 2004, when it began in the historic northeastern town of Olinda with the express purpose of bringing pri- marily instrumental music to the Brazilian pub- lic. Over the years it has expanded to four addi- tional cities around Brazil: Tiradentes, Paraty, Ouro Preto and Rio; concerts are held on a series of three-day weekends over two months in the fall. The festival is free and open to all. Along with concerts, MIMO offers master classes and a film festival with a music theme. Although unmitigated jazz was uncommon at this year’s festival, it could not have been bet- ter represented than in the person of French vio- lin master and composer Didier Lockwood, who played a show dedicated to the legacy of his mentor, legendary Hot Club violinist Stéphane Grappelli. Lockwood and his adroit trio with acoustic guitarist Adrien Moignard and French bassist Diego Imbert performed in the Igreja Candelária in central Rio, an ornate, cavernous cathedral that dates back to the 18th century. Playing “Nuages,” one of Grappelli’s most famous songs (actual- ly written by his bandmate Django Reinhardt), Lockwood proved himself to be Grappelli’s true heir. He alternated phrases of exquisite tender- ness, sometimes soaring into the violin’s strato- sphere, with explosive, Hendrix-style blues riffs that recalled his beginnings in . The pièce de résistance, however, came when Lockwood switched to a six-string electric vio- lin, enhanced by pedal-controlled loopers and synths, to improvise a piece of orchestral scope that included African-inspired percussion, fla- menco grooves, seascapes with crying gulls and, eventually, Americana fiddling. It was a spec- tacle, to be sure, but also music of undeniable power and majesty.

FEBRUARY 2018 DOWNBEAT 23 In Memoriam: Producer George Avakian GEORGE AVAKIAN, THE GRAMMY-WINNING JAZZ PRODUCER AND label executive who worked with some of the genre’s most important artists and brought numerous innovations to the music industry, died Nov. 22 in . He was 98. Avakian was known particularly for his production of jazz and popular albums at , including the first regular series of reissues of jazz albums. In 1948, he helped establish the 33⅓-rpm LP as the primary format for popular music. A short list of classic jazz recordings produced by Avakian includes Louis Armstrong’s Plays W. C. Handy (Columbia, 1954), ’s (Columbia, 1956), Miles Davis and Gil Evans’ Miles Ahead (Columbia, 1957), Benny Goodman’s In Moscow TOM PICH, COURTESY OF NATIONAL ENDOWMENT FOR THE ARTS (RCA Victor, 1962) and ’ Our Man In Jazz, (RCA Victor, 1962–’63). Avakian was born in Russia to Armenian parents, who moved the fami- ly to in the early 1920s. In his teens he became enamored of jazz through radio programs such as Let’s Dance with Benny Goodman. While a student at Yale University, Avakian convinced Decca Records to let him produce a 78rpm record of , Pee Wee Russell and others NEA Jazz Masters David Baker (left), George Avakian, from the 1920s jazz scene in Chicago. Entitled Chicago Jazz, the recordings Candido Camero and pose for a portrait at the 2010 NEA Jazz Masters Awards Ceremony & Concert. marked the first time jazz songs were produced in an album format rather than as singles. ed the first history of jazz on records. In 1940, he was asked by Columbia to produce the industry’s first anno- After service in the U.S. Army during World War II, Avakian began his tated reissue album series, called Hot Jazz Classics, which included sem- 12-year tenure as a Columbia Records executive, eventually presiding over its inal out-of-print selections from Louis Armstrong, Bessie Smith, Bix Popular Music and International divisions. At the same time, he was acquir- Beiderbecke, and Duke Ellington. He included the ing a reputation as a jazz researcher and critic of some renown, having pieces first-ever unreleased and alternate takes in the series. In effect, he had creat- printed in Tempo, DownBeat, Metronome, Mademoiselle, Pic and . Concerned about the lack of jazz education, in 1946 Avakian started a course in jazz history at the university level at . In 1948, Avakian introduced the LP record format created by Columbia engineers and produced the industry’s first 100 long-playing discs of popu- lar music and jazz. Two years later, he released the original 1938 recording of Benny Goodman’s concert—one of the first jazz albums to sell more than a million copies. This inspired him to use the long-play format for something new: the live recording. One of the artists that Avakian signed to Columbia was Miles Davis. “He was under contract to at Prestige,” Avakian recalled of the trumpeter in an interview with DownBeat in 2000. “Then one day in 1954 or ’55 Miles came up with an interesting idea. He said he could start record- ing for Columbia now, but that we would hold the masters until the Prestige contract ended in February 1957. Columbia would help arrange the kind of bookings that could support a stable group, then begin a publicity buildup about six months before the switch. The quintet’s first Columbia session was in October 1955.” From 1959 onward, Avakian served as a producer at Warner Brothers, World Pacific, RCA Victor and Atlantic, among others. During the early 1960s, he branched out, becoming the manager of Charles Lloyd and later of . During the era of the compact disc, Avakian contributed his production skills and vast jazz knowledge to numerous reissue projects for Columbia/ Legacy, many of them involving iconic recordings he initiated during the 1950s. Avakian received a DownBeat Lifetime Achievement Award (2000) and Europe’s prestigious jazz award, the Django d’Or (2006). In 2008, France bestowed on him the rank of Commandeur des Arts et Lettres, and in 2009 he received the Trustees Award from the National Association of Recording Arts and Sciences for contributions to the music industry world- wide. Avakian was a 2010 recipient of the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. DB

24 DOWNBEAT FEBRUARY 2018 Jon Hendricks,

Pioneer, Dies at 96 DOWNBEAT ARCHIVES JON HENDRICKS, THE MULTI-TALENTED sation and made the trio the most famous vocal jazz singer and whom Time magazine group of their day. The album ultimately received once dubbed “The James Joyce of jive,” died on a Grammy Hall of Fame Award in 1998. Nov. 22 in Manhattan at age 96. In the late 1950s, Hendricks, with and without the trio, influ- Hendricks, a self-described “prim and proper” enced generations of jazz vocalists and singing English major from Toledo, Ohio, teamed up with groups, including Manhattan Transfer, New York singers Dave Lambert and to form the Voices, and Bobby McFerrin, among chart-topping vocal group Lambert, Hendricks & many others. Ross. After the group disbanded, he worked as a A true jazz renaissance man, Hendricks also solo artist and continued to perform well into his worked for two years as a jazz critic for the San nineties. Francisco Chronicle and taught at the University Hendricks was not the first jazz singer to prac- of California at Berkeley and the University of tice the art of vocalese—crafting lyrics to jazz stan- Toledo, where he was appointed Distinguished dards and well-known instrumental solos—but Professor of Jazz Studies and received an honor- was widely considered its standard-setting grand ary doctorate degree. master. After hearing ’s 1952 record Two years ago Hendricks was a part of The of “Moody’s Mood For Love” with lyrics by Eddie Royal Bopsters Project, an album by the vocal Jefferson, Hendricks was inspired to write his own group London, Meader, Pramuk and Ross that verses to jazz instrumentals. “It opened up a whole featured vocalese pioneers including Ross, Mark Jon Hendricks (1921–2017) world for me,’” he told John S. Wilson of The New Murphy, Sheila Jordan and Bob Dorough. After York Times in 1982. “I was mesmerized. I’d been singing with the group at New York’s Birdland, Gil Evans album, had its premiere performance writing rhythm-and-blues songs, mostly for Louis a cake was wheeled onstage to celebrate his 94th in New York, performed by the London Vocal Jordan. But I thought ‘Moody’s Mood For Love’ birthday. Project, with Hendricks in attendance. was so hip. You didn’t have to stop at 32 bars. You In 2017, Hendricks’ vocalese re-scoring of Hendricks was named an NEA Jazz Master in could keep going.” Miles Ahead, the seminal 1957 Miles Davis/ 1993. —Allen Morrison Among the tributes pouring in upon his death was this message posted by singer Kurt Elling on his Facebook page: “Full peace to 96 yr-old genius, Jon Hendricks. Artist, Poet, Singer, Father, Teacher, Friend. Thank You. May my own work honor you.” The long list of jazz standards for which Hendricks wrote witty, often tongue-twisting lyr- ics, many of which have become classics them- selves, include ’s “Jumpin’ At The Woodside,” ’s “Four Brothers,” Benny Golson’s “I Remember Clifford” and “Killer Joe,” Clifford Brown’s “Joy Spring” and ’ “Moanin’.” Hendricks was born in Newark, Ohio, in 1921 to a minister father and choir director mother; he was the ninth of 15 brothers and sisters. He began his performing career at age 14 by singing on the radio and at a local nightclub, where he was often accompanied by the not-yet-famous piano virtu- oso . As a scuffling songwriter in New York, he and Lambert collaborated on vocal versions of Count Basie band arrangements. When singers they hired for a recording session couldn’t seem to get the right swing feel, the pair persuaded Creed Taylor, then a fledgling producer at ABC- Paramount Records, to let them sneak into the recording studio at midnight to multitrack the parts with Ross. By 6 a.m., they had complet- ed the album that was eventually released as Sing A Song Of Basie. It became an international sen-

FEBRUARY 2018 DOWNBEAT 25 Danny Janklow’s debut, Elevation, features 10 remarkably talented musicians. COURTESY OF ARTIST

DANNY JANKLOW Chronicling a Collective

here’s an infectious positive energy one to pride himself on placing himself where he can eyes, that’s what the best musicians do.” Tfeels when in the presence of alto sax- apply his skills to any situation,” Reed added. Benjamin Shepherd and Ben ophonist Danny Janklow. It’s palpa- A member of Kanner’s assembled all-star Williams, drummer Jonathan Pinson and vocal- ble whether hearing him on the bandstand at quintet, Reed also plays on Janklow’s debut ist Michael Mayo round out the Elevation roster. San Francisco’s Black Cat club or sitting across album, Elevation (Outside in Music), released “Bringing everyone together and fitting the table from him in the dining area of an Oct. 20. everything in like an amazing puzzle—that’s upscale grocery store in the city’s Inner Sunset A 10-track collection of eight originals—plus what I was trying to do with this album,” he said. neighborhood. a soulful interpretation of a Radiohead clas- “I have a collective of people that surround me, “The profile of a 2017 musician is someone sic and a version of keyboardist ’s and that’s the statement I was making. That, in who’s willing to do what he or she has to do to “Roastmaster”—Elevation is an impressive 2017, is an important statement to make, with stay afloat but also with integrity in their musi- introduction to Janklow’s diverse tastes and original music.” cal decisions, in who they play with and what musical community. The kinetic album open- Through Barsh, Janklow was introduced to they put out,” said Janklow, before the final show er, “Philafornia,” is nod to both to his home state producer DJ Khalil, who has worked with of a five-night Black Cat run as part of an all- and the city in which his alma mater, Temple , and Anderson .Paak. star group of Los Angeles-area musicians led by University, is located. The bandleader shares the “We’ve done heavy-hitting sessions, and I’ve drummer Kevin Kanner. “It’s a delicate balance.” front line on it with vibraphonist Nick Mancini, learned so much. Sam has given me a lot of The Southern California native recently who also plays on five other tracks. insight into the hip-hop world,” he said. completed a European tour with keyboardist/ The lovely “Hidden Treasure” features vocal- “When a lot people see jazz guys like Robert composer Keiko Matsui. Earlier this year, he’d ist Jesse Palter and Elevation co-produc- Glasper and Donny McCaslin working on pop- made treks to Northern California as a member er Beasley instead of Reed, while the uptempo ular music, they don’t realize how important and of pianist John Beasley’s MONK’estra big band. “Roastmaster” segues into the crisp funkiness of relevant it is to the actual audience that’s there “Danny is a musician’s musician,” said pia- “Gemini Vibe.” Palter’s wordless vocals pair per- listening,” he added. nist , a Janklow supporter and col- fectly with Janklow’s alto flute on the meditative Elevation’s sole non-original is a nod to laborator for most of this decade. “Sometimes “Lolobai.” Janklow’s youth. “Creep,” found on Radiohead’s a musician will have so much together that “This wasn’t my first attempt at recording 1993 debut, Pablo Honey, is the rare interpreta- it’s obvious; in Daniel’s case, [it’s reflected] music,” Janklow explained, noting that he’s led tion by a jazz artist of a song that’s not from the by the fact he works with so many different studio sessions to record submissions for compe- seminal British quintet’s mid-career output. musicians.” titions and to document his various bands. At age 11, Janklow got his first saxophone. It Some instrumentalists focus on studio, pit or “The thing that I was going for was getting set him on a career path. “I didn’t start just lis- symphonic work, but Janklow’s wide diversity is this collective of my favorite people that I’ve tening to jazz,” he recalled. “It just sucked me in one of his key strengths. “Danny, to me, seems worked with—literally just that. Because in my when I was 11.” —Yoshi Kato

26 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 27 Akiko Tsuruga at the 2017 Charlie Parker Jazz Festival in New York STEVEN SUSSMAN

AKIKO TSURUGA Extending the Tradition

he sight of the petite Akiko Tsuruga sitting behind a Hammond B-3 Onstage with Donaldson, with whom she has been playing since 2007, Torgan and digging in with gospel-tinged intensity and blues- Tsuruga demonstrates an ability to shift nimbly from the earthy funk of drenched authority on the hulking beast is incongruous yet exhila- “Alligator Boogaloo” to the uptempo swing of Bird’s bop anthem “Wee” to rating. Whether the Osaka, Japan-born organist is leading her own group the slow blues of “Whiskey Drinkin’ Woman.” at Showman’s in Harlem or serving as ’s longstanding “When Lou came to check me out at Showman’s and asked me to join accompanist (as she did with show-stopping élan at the Charlie Parker Jazz his band, I thought, ‘My dream came true!’” she recalled. Since joining Festival this summer), Tsuruga has been steadily building a solid reputation Donaldson, Tsuruga has played major venues like Carnegie Hall and pres- on the scene since moving to New York in 2001. Her eighth album as a lead- tigious New York clubs like the Village Vanguard and Dizzy’s, and she has er, So Cute, So Bad, features drummer Jeff Hamilton and guitarist Graham also traveled all over the world. Dechter, and it’s elevating her profile even more. At age 3, Tsuruga’s parents bought her a small organ, and soon after, she began learning standards like “The Shadow Of Your Smile,” “Fly Me To The Moon” and “The Breeze And I.” A revelation came during her high school years when she heard ’s The Cat. The aspiring organ- ist later became enthralled by the earthy stylings of “Brother” Jack McDuff, Charles Earland, Jimmy McGriff and particularly Dr. Lonnie Smith, who would become an important mentor for her. “I met Dr. Lonnie at the Village Vanguard when I was visiting New York before I moved there,” she recalled. “He was playing with the Lou Donaldson Quartet. After the set, the band’s drummer, Fukushi Tainaka, introduced me and Lonnie asked me to play a blues on his organ. So that was the first time I played at the Village Vanguard.” A couple of years after she moved to New York, Tsuruga began taking lessons with Smith at his apartment in Harlem. “I would watch him play and we would practice together. I learned some very important things about playing organ in those sessions, including getting a bluesy feeling. He would also tell me, ‘Play your life into the music. If you are happy, play happy. If you are sad, play sadly.’ I leaned how beautiful it is to dedicate my life to the music. Since I met him, I started thinking about ‘living with music.’” On her previous albums, like Sweet And Funky (2007), Oriental Express (2009) and Sakura (2012), Tsuruga has demonstrated her adeptness at swinging, playing the blues, getting funky and interpreting ballads. She delivers more of the same on So Cute, So Bad, cooking on “The Lady Is A Tramp,” riding a boogaloo on Baby Face Willette’s “Face To Face,” sailing over Hamilton’s 12/8 groove on “You Don’t Know What Love Is” and get- ting mellow on ’s “Frame For The Blues” and on her own bossa nova-flavored “Tanabata.” Regarding the album’s title, she confides that it refers not to herself but to her pet cat, Tiger. “He is so cute, and he loves music, too,” Tsuruga said. “When I practice, he always sits on the Leslie speaker and listens. But he has a bad habit. He loves to drop things from above. My husband and I don’t remember how many glasses he has broken, how many pencils and cosmetics he has lost. So, he is also so bad!” —Bill Milkowski

28 DOWNBEAT FEBRUARY 2018 Dave Pietro’s new album is New Road: Iowa Memoirs. KATIE COLLEARY

DAVE PIETRO Aural Pictures queezed into the small green room in New Rogerio Boccato on percussion. SYork’s Jazz Standard on Thanksgiving Eve, From the get-go, Pietro—who produced and Dave Pietro seemed at home surrounded by played alto and soprano , flute and the instruments—a , a piccolo, two saxo- clarinet—was intent on painting aural pictures. phones and three flutes—that he would be using The album’s opener, “Sunrise On The Muscatine on his gig with the Maria Schneider Orchestra Highway,” was inspired by an early-morning that night. drive along that scenic artery. In it, the players The sheer number of instruments testified to conjure line on contrapuntal line like so many his versatility. And his mastery of them became brushstrokes until an image of the titular high- evident as he worked his way through Schneider’s way emerges. But complete as it seems, he said, first set—easily blending with his section-mates the image could be fleshed out. or holding the spotlight mid-set with a cannily “It’s almost like a large-ensemble chart wait- conceived, fiercely delivered soprano sax solo on ing to happen,” he said. the Schneider classic “Last Season.” A similar transformation, from concrete “He’s an unbelievable doubler,” Schneider impression to abstract form, applies throughout said before the gig. “On top of it, he solos incred- the album. The plaintive “Sleep, Prairie, Sleep” ibly on all of those instruments.” has its roots in a meditative drive through frozen Pietro’s instrumental gifts have led to work farmlands. “It’s A Half-Decent Muffin” draws with a diverse range of big bands. Since coming its humorous stagger from a conversation over to New York after graduating from the University breakfast recorded and transcribed rhythmically. of North Texas in 1987, the Massachusetts native While the writing and arranging are key to has played with everyone from Lionel Hampton, the album, Pietro, in the studio, offered lit- Woody Herman and to tle direction on interpreting his charts. Rather, Toshiko Akiyoshi, Darcy James Argue and Ryan he largely limited the discussion to the imagery Truesdell’s Gil Evans Project. that moved him, setting the tone and leaving the But that experience is just part of a larger pic- musicians ample freedom to express themselves ture. Reflecting his affinity for the big-band in their improvisations. “You get an idea about broad palette, Pietro has over the years put the vibe he wanted, but he doesn’t tell you what together small-group projects known more for to play,” Versace said. colorful writing and arranging than for a for- The attention to soloists derives from Pietro’s mal adherence to head-solo-head structure. The time with bands like Schneider’s, with whom latest example is documented in his new release, he began as a sub more than 20 years ago. Since New Road: Iowa Memoirs (ArtistShare). then, Pietro, 53, has traveled the world, written The album, his first as a leader in a decade, music for seven albums and taught full-time grew out of a residency at the University of Iowa at New York University, where he directs the in 2011 and 2012. As he moved across the state Ensemble. teaching young students, he took in the sights But, as he sat among his horns in the and sounds, which he translated into seven orig- Standard’s green room, he said that in the end, inal pieces interpreted by on trum- it all came back to basics: “I’ve been clear with pet and flugelhorn, Gary Versace on piano, myself: ‘If everything is taken away from you, Johannes Weidenmueller on bass, Johnathan what is the thing that’s most important to you?’ I Blake on drums and, on three of the tunes, would hold on to my saxophone.” —Phillip Lutz

FEBRUARY 2018 DOWNBEAT 29 Wee Willie Walker recorded his new album, Complete Goldwax Singles, Vol. 3, 1967–’70.) After A While, with a dozen musicians. During a recent phone interview, Walker praised Sam Cooke as his first inspiration then spoke enthusiastically about a certain Southern soul colleague: “Otis Redding was fabulous. TORSTEN STAHLBERG It took me a while to recognize what Otis was doing. I guess that’s only natural because when somebody doesn’t sound like anyone else, it takes a while to adjust.” In the North Star State, Walker worked for many years as a caregiver in nursing homes while singing in clubs on weekends. “I never gave music up,” he stated as a point of pride. And he’s recorded several albums with Minneapolis’s Butanes Band. His career perked up in 2015 when West Coast blues har- monica ace Rick Estrin tracked him down and recorded If Nothing Ever Changes (Little Village Foundation). A Norwegian tour and its attendant album, Live! (LVF), followed. Walker’s resurgence has gotten its greatest boost from Anthony Paule, a first-rate soul- blues guitarist based in San Francisco. As WEE WILLIE WALKER leader of the house band at the Porretta Soul Festival, he was asked by artistic director Resurgent Power Graziano Uliani to bring an American sing- er of his choice to . Paule immediate- hout the good news. Wee Willie Walker, vals all over, from the Canary Islands and Italy ly thought of Walker. Why? Contacted at his Spart of the remarkable Memphis and to the Maine coast. home office, he offered a pithy explanation: Muscle Shoals soul scenes of the 1960s, Raised in Memphis, Walker started his “Willie delivers a song like nobody else in the but in the shadows since, finally is getting rec- career in the 1950s, singing gospel with the world.” The resulting performance by Walker ognized as one of the most outstanding soul Redemption Harmonizers. Discomfited by the and the Soul Orchestra was a triumph—and singers active today. Southern social climate, he moved permanent- they’ll be back there in summer 2018. The compelling catalyst is his new album, ly to Minneapolis in 1959. “When we’re performing, the band is like a After A While (Blue Dot), recorded with the Throughout the ’60s he made trips back to warm blanket,” Walker said, “I thrive on what Anthony Paule Soul Orchestra. Nowadays, Memphis and over to Muscle Shoals in Alabama, they’re playing. They cover me. It’s so comfortable.” Walker is booked to play choice clubs like the cutting singles for the storied Goldwax label. (Six It made perfect sense to do an album togeth- Blue Note Napa club in California and at festi- tracks by Walker appear on the two-CD set The er. For the first time Walker called the shots on his own recording. Paule described the sessions, held at Berkeley’s Fantasy Studios: “Willie was there for the songwriting, the rehearsals, the pre-production, the recordings, a great deal of the mixing. It was good to see him light up with ideas as he offered his input.” “I listen to the music a little different from most singers,” Walker said, referring to his a work with Paule’s septet. “I listen for power areas in the music structure to find my phrasing.” Walker was drawn to the title track for After A While, as well as other gems written by Christine Vitale, Paule’s better half. “My reading of Christine’s lyrics [caused] a feeling that has a lasting effect. That’s important in songwriting— to tell a story good enough to last.” Album highlights include a sublime rendi- tion of “Your Good Thing (Is About To End)”—a hit for both Mable John and —as well as “I Don’t Want To Take A Chance,” which Walker previously recorded as a demo at Muscle Shoals’ FAME Studios. “These are songs that seemed to rise when we were doing the session,” Walker said. “We could all feel the power.” —Frank-John Hadley

30 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 31 32 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 33 The Centennial Trilogy uses the 100th anni- versary of the first jazz recording as a point of departure for ideas about identity, cultural con- nectivity and the sociopolitical problems that ERIKA GOLDRING persist a century after the Original Jass Band’s 1917 milestone. It’s an admittedly knotty basis for mostly instrumental, jazz-based music. But then, Adjuah has been contemplat- ing this project for much of his adult life. Inside the museum, the 34-year-old stands amid multiple displays of brightly colored bead- work and plumage as he points to a pair of large costumes in the front of the room. “This suit here was the last suit that my grandfather wore, and this suit is my uncle Donald’s,” he says, referring to saxophonist Jr. Other items packed into the small room include costumes made for the younger members of the Guardians of the Flame Mardi Gras Indians, which Adjuah’s grandfather founded. Photos lining a windowsill show Adjuah, his twin brother, Kiel, and his aunt, Cherice Harrison- Nelson, the Big Queen of the Guardians of the Flame, in full costume. “This is a culture I was born into that is deeply rooted in the actual history of this place,” Adjuah says of the black Indian tradi- tion that’s long influenced his creative output. If being steeped in New Orleans jazz from a young age inspired his drive to comment on the centennial anniversary of the Original Dixieland Jass Band’s recording of “Livery Stable Blues,” his background in Indian culture helped inspire what he chose to say and how. Born Christian Scott and raised in and around the neighborhood where his grand- parents’ non-profit sits, Adjuah interacted with New Orleans jazz luminaries like Danny Christian Scott aTunde Adjuah at the New Orleans Jazz Market on Oct. 24 Barker and Doc Cheatham regularly as a child. “They would always talk about the first jazz On a quiet corner of New Orleans’ Upper 9th Ward neighborhood, recording and whenever it came up, even before I played music, the energy changed,” he recalls. near the low-slung houses and graffiti-tagged stretches of North “I could sense that there was something that they were upset about. It wasn’t until I got older Claiborne Avenue, Christian Scott aTunde Adjuah sits on the steps and I started to be around Clyde Kerr and Kent Jordan that it dawned on me that part of what of the Donald Harrison Sr. Museum and Guardians Institute. they were dealing with and speaking about in those moments was essentially that the culture Part gallery, part cultural center, the space was ary-challenging style he calls “stretch music.” was being laughed at.” founded by Adjuah’s grandmother, Herreast The albums were all released in 2017: Ruler He cites the all-white makeup of the Harrison, in honor of her late husband’s affini- Rebel (March 31), Diaspora (June 23) and The Dixieland Jass Band and the vulgar ori- ty for reading and teaching young people about Emancipation Proclamation (Oct. 20). These gins of the term “jass” as evidence; older New the Mardi Gras Indian culture that has played discs push Adjuah’s expansive sound to a new Orleans musicians also point to the problemat- a central role in the lives of their family for level of fluidity; there’s a seamlessness here that ic nature of describing early jazz as “Dixieland,” generations. sets the albums apart from their 2015 predeces- given its implicit reference to the pro-slavery Adjuah stands and smiles, slivers of gold sor, Stretch Music (Ropeadope/Stretch). Confederacy. glinting off his jewelry in the late-October light. By mining concepts rooted in West African “For it to be viewed in that way, and also for “Welcome,” he says as we walk up the steps of and Latin rhythms, trap music, soul, jazz, it to be highlighted that this [recording] is the the sleek building. global pop and more, Adjuah aims to look first moment for that music, hurt them deeply,” In a few days, the trumpeter is slated to kick ahead, musically, without losing sight of the Adjuah says. “They would always tell my peers off a world tour to promote his three-album past. The ideas behind the music represent and me, ‘The 100-year mark will be up and you series on Ropeadope/Stretch, The Centennial a balanced combination of history and pro- need to do your best to make a statement that Trilogy, a bold expansion of the bound- gressive thinking, too. speaks to the actual tradition in this music.’”

34 DOWNBEAT FEBRUARY 2018 By the time he was about 13, Adjuah had the roles traditionally played by solos and lead ble things—that are coming out of the execu- started to formulate a plan to meet the chal- instruments obfuscates some of that. tive corridor, specifically—are things that I was lenge his elders had offered. What stands out on each of the trilogy gonna have to end up dealing with no matter The result is The Centennial Trilogy. discs is Adjuah’s exploration of rhythm. who was in office.” Adjuah says he intended the first album, Ruler Multiple layers of drums and percussion— Adjuah’s longtime bassist Kris Funn asserts Rebel, to introduce the listener to the speak- from a kit, from a collection of mostly West that “Christian has a way of picking topics that er. It covers what he calls his “identity politics” African-derived hand drums and from pro- you may not know much about and shining a and reflects undercurrents of the histories he grammed drums and pads—along with light on [them]. And a lot of times he is ahead of feels tied to. The homages to his hometown Adjuah’s unconventional use of melodic the curve on awareness of these issues.” hew to soulful jazz, while the crisp feel of “The forms, suggests a kind of equality, overall, to Funn points to Adjuah’s controversial song Coronation Of X. aTunde Adjuah” asserts a the way atmospheres are built in the music. “K.K.P.D.,” or “Ku Klux Police Department,” change in mood. That vibe speaks to Adjuah’s belief that prob- an instrumental track (recorded in 2009 The names “aTunde” and “Adjuah,” which lems in today’s society can be remedied, at for the Concord album Yesterday You Said he added to “Christian Scott” in recent years, least in part, by better communication and Tomorrow) based on Adjuah’s experience of refer to twin generals from Benin who, accord- more attention to disparate voices. being harassed by New Orleans police officers. ing to fable, helped foster a bond between West It’s noteworthy that all three albums were Says Funn: “Think about when ‘K.K.P.D.’ was recorded and look at the climate on police bru- tality currently.” In Adjuah’s eyes, things simply need to change—and there’s a growing degree of inter- sectionality that’s coming to light that may spur such progress. “We are living in a moment where no mat- ter who was in office, we are going to have to re-evaluate the way we interact with each other because the world is changing,” he says. “People are looking for equality and they’re looking for ways to be able to navigate their space without feeling as if they’re some sort of leper because they’re a real person. So I think Africans in the New Orleans region and Native recorded in April 2016. The Black Lives Matter the sooner we get past some of the infight- Americans, he says. movement was in full swing at the time, ing that’s happening between cultures that are On his second album in the trilogy, but Adjuah has dealt with issues like police essentially the same culture, the better.” “Diaspora is who is being spoken to,” Adjuah harassment with regard to race for a decade. The decision to comment on the first jazz says, “and I mean [diaspora] on the macrocos- Here, he’s focused more on a splintering recording’s centennial with a sweeping riff on mic level. … I am speaking to all human beings among people—and suggesting, through the sounds of different cultures sprang in large with as much love as possible.” music, that our connections are more plenti- part from Adjuah’s nearly lifelong saturation in That macrocosm is well represented, thanks ful than our differences. black Indian culture. to a program that veers from supersonically fast The music has changed in performance Dating back at least to the mid-19th centu- beats to ultra-mellow modes, from Delta blues since it was recorded, but not necessarily ry, Mardi Gras Indians or black Indians are to world music to a Mardi Gras Indian-inspired because of the drastic shift in the political cli- generally neighborhood-based “tribes” who vocal refrain on the closer, “The Walk.” An mate in America. create hand-stitched, beaded and feather-be- homage to Adjuah’s grandmother, “Our Lady “For my experience, the subject matter of decked costumes. The aesthetic honors the Of New Orleans (Herreast Harrison),” ties all three records, even though the first two relationship between African Americans in the a feel for the city’s history with an acknowl- aren’t as pointedly political … there has never region and Native Americans. (The trumpet- edgement of its gentrified, post-Katrina been a moment in my life where it’s not real- er wears one on the cover of his 2012 Concord demographics. That particular track is held ly relevant,” he says. “Right now we’re enduring album, Christian aTunde Adjuah.) together in strong fashion by a stunning solo a very strange moment in that we’ve allowed Rival tribes traditionally perform a percus- from flutist Elena Pinderhughes. the political arena to become inundated with sive, call-and-response style of music when “The Emancipation Procrastination is people that have highly bigoted views and that they hit the streets in New Orleans on Mardi essentially a message,” Adjuah continues, don’t mind insulting the American people to Gras Day and St. Joseph’s Night, with a hierar- “[that] as a world culture we have to become their faces—and have also created counter-nar- chy of members, the leader of which is the Big hyper-vigilant in terms of the way we look at ratives to things that we have all witnessed and Chief. When African Americans were legal- things” and “that we need to reevaluate … how experienced to get us arguing.” ly unable to participate in Carnival parades, we treat each other so that we can figure out the Today, he says, The Emancipationblack Indian culture became a creative cele- best way to move forward.” The trilogy’s final Proclamation may feel as if it has more weight bratory outlet as well—one that encouraged album features plenty of dark moments and given the strong arm the far-right currently its practitioners to define themselves within tension as the band works to convey feelings has in Washington, D.C. But Adjuah isn’t con- the community as leaders or other important about a largely broken political system on tunes vinced that having a different person in the members of their group. like “Gerrymandering Game.” Adjuah has White House would change much. A number of factors have been cited to help said The Emancipation Procrastination is more “If I’m being honest about my experience, a explain the Native American influence, some grounded in jazz than the other two albums in lot of those things that we are dealing with that of which involve Native Americans protect- the trilogy, although the audible resistance to others are starting to see as being really terri- ing runaway slaves or meeting and mingling

FEBRUARY 2018 DOWNBEAT 35 play in the spaces where the 808 isn’t. The 808 takes up so much space sonically that you won’t be heard if you don’t.” At the band’s Oct. 24 performance at the ERIKA GOLDRING New Orleans Jazz Market, the amount of lay- ered rhythm that went into the ensemble’s overall sound was visible as well as audible. Dressed in all black accented by massive piec- es of gold jewelry and a sleek, braided hairdo, Adjuah’s customized “B-flat instruments” (his horns are essentially trumpets that have been tweaked to help create a breathier effect and mute out some of the brassy tone) occasional- ly seemed like accessories, both to his ensem- ble and to the music. He spent a good deal of the show handling what he describes in his album credits as “sonic architecture,” or the programmed aspects of the music, from cen- ter stage. Beside him, the virtuosic Weedie Braimah ripped through dazzling patterns on congas and a mix of other hand drums. He was seat- ed beside Butcher Brown drummer Corey Fonville, another bright light on the horizon of jazz-based music who forces listeners to think outside the box. The trumpeter released all three albums of The Centennial Trilogy in 2017. In the back, Funn gracefully laid down bass lines—and one burning, extended solo—that in Congo Square to create bloodline ties as tures feels natural, as does calling on a musical belied the complex task before him. Samora well as cultural ties. Others point to the role of lineage that predates the American experience. Pinderhughes, Elena’s brother, rounded out African Americans in the traveling Buffalo Bill “Part of what this culture has been able to the rhythm section on piano while Elena and Wild West shows. The intersection of African do for me is to help me develop a hearing for Adjuah traded lead duties on flute and horn. American culture and Native American cul- the root, rhythmically, of the music, and to be Together, the group’s rhythmic capacity and ture resulted in a heritage that was often able to synthesize those things and then apply harmonic dynamic created a different sound passed from one generation to another via the them in a way that makes it relevant today,” than what’s normally presented at the venue. oral tradition. Adjuah explains. “The most challenging aspect of this music “It’s not a linear American narrative, so That’s not to say the material is simply a is not having one solid reference to pull from,” you’re exposed to things in this culture that remix of rhythms that predate jazz. The lay- Funn said. “As jazz musicians, a lot of our devel- you wouldn’t get in a Louisiana history course,” ered beats and overdubbed solos are reminis- opment comes from studying material of the Adjuah says. cent of what EDM artists have been doing in past and pushing it forward and shaping our That “larger, older narrative,” he continues, recent years with trap music, a gritty, Southern- own expression from it. Combining all these helped him “realize how important it is not to born hip-hop genre characterized by super- sounds, genres and instruments together is have a single story about cultures of people,” fast, subdivided electronic beats and lots of uncharted territory.” while appreciating equally the value of different programmed drums. Trap is not jazz but it is Adjuah’s drive to try new things isn’t limit- cultures of sonic expression. a Southern music style that likely grew out of ed to music. He and his team have created a As a band, he explains, “We prioritize the a conglomeration of similar rhythms. Again, Stretch Music App that allows a musician to rhythms that actually created this culture as a Adjuah’s going back to look forward. engage with a track in whatever way they need sort of launch pad to finding new sonic territo- While Funn praises Adjuah for encourag- to in order to join the sonic conversation. He ry, landscapes, new vernacular, new modes of ing the band to help to shape the direction of has partnered with Ropeadope to start his own approaching the music.” the music, he admits that task is made more label, which he hopes will “create a sustainable Rather than looking to bop or a particular challenging by the elements Adjuah chooses to community for artists … so that we don’t con- point during which jazz was evolving for a root include. For Funn, the Roland TR-808 Rhythm tinue to be the labor class in this music.” idea, that generally meant looking to rhythms Composer, a now-iconic drum machine devel- On Dec. 8, he released a new track, that came to New Orleans via West Africa, oped in the early 1980s, is a big one. (Kanye “Freedom Is a Word,” through a sponsorship like the Kassa Soro from Guinea or the Malian West used the machine and helped immortal- with 1800 Tequila and Billboard. The hip-hop- Sunun Gui. ize it with his chart-topping 2008 album, 808s meets jazz collaboration with Vic Mensa is part For a musician who spent much of his life & Heartbreak.) of a five-part digital documentary about musi- positioned as his Mardi Gras Indian tribe’s Spy “I can’t even explain what it is like to play an cians with whom Adjuah has worked. Boy—the Indian who travels at front of the acoustic bass next to an 808,” Funn said in an Adjuah cites these and other accomplish- tribe, scouting out territory and looking for email while on tour with Adjuah recently. “If ments before noting that he’s days away from other groups to meet before reporting back to you listen to trap music, most of the time the his third international tour in the past year. his own tribe about the best way to proceed— 808 is the bass line and kick drum at the same Then he pauses, bursts into laughter, and adds, garnering musical information from other cul- time. So you have to kind of do the opposite and “I haven’t slept much in 2017.” DB

36 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 37 owever, that didn’t deter him from giving the 2016 graduation address at the University of Vermont’s Rubenstein School of Environmental and Natural Resources in Burlington. Wooten wrote out a speech—his first ever, he said—but then at break- fast the morning of the ceremony, he changed his mind about what he wanted to say. Wooten decided to give the graduates an improvised commencement “talk” that focused on his uplifting outlook on life complemented by interludes of electric bass riffs, doodles and high-speed solos. He wore a black gown and one of his black knit hats while everyone else in the crowd donned the traditional mortarboard graduation caps. “What I was most happy about was that I wasn’t speaking to a group of musicians, but environ- mentalists,” Wooten said in a recent telephone conversation. “It made me happy that these people saw me this way. It’s like I’ve always said, music and nature are a part of everyone’s life. You can’t avoid it.” Looking back, the uplifting “show” he performed at Rubenstein exemplifies who the 53-year-old Wooten is as an artist and an environmentalist—an unlikely but fully organic marriage of music and the outdoors that inspires him to reach beyond the jazz status quo to a poignant and spirited purity. His Center for Music and Nature, a 147-acre retreat in rural Tennessee not far from Nashville, enters its 19th season this year. Wooten has won widespread acclaim for the diversity of his virtu- osic music, whether it’s playing bass in & The Flecktones, performing as a sideman in ’s jazz-rock band or launching a future- with saxophone/flute/electronics play- er Bob Franceschini and drummer . A passionate educator, Wooten serves as scholar-in-residence at Berklee College of Music, where his distinctive 2008 novel, , is part of the school’s curriculum.

38 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 39 starting it together. We wrote tunes and shared ideas. We were interested in changing things up from what we had been playing.” A denominator for the three was Stern’s band. The 55-year-old Franceschini, who had been playing with Stern since 2000, was intro- duced to Wooten in 2002 when the guitarist enlisted the electric bassist to join in for a few gigs. The pair hit it off. “I had been listening to Victor’s A Show Of Hands album [1996] for a few years, so I knew who he was,” Franceschini said. “Mike would call Victor up from time to time, so we got to know each other better. Victor called me to come to his camp to teach theory, improvisation and arranging. That’s when he said that it might be a good idea to form a trio with Dennis, who was also playing with Mike. Victor wasn’t sure where it would go, but he booked gigs in Japan and Europe. We did older stuff, then wrote new material to the Saxophonist Bob Franceschini (left), bassist Victor Wooten and drummer Dennis Chambers recorded the new album Trypnotyx. point where we became a band.” Even though Chambers, the elder of the band at 58, had played with Wooten over the years in the context of Stern’s projects, he quick- ly saw a different side of the bassist in the trio. “Every night it’s an event playing with him,” Chambers said. “It’s not [simply] playing with a bassist, but with all his pedals; he makes it more interesting. Victor has a serious imagination in the ways he brings his music, his style, his lead- ership. Playing with him as a rhythm section is a blast. He’s a bass player and a percussionist, and some of his solos are insane.” When sharing the bandstand with Chambers, Considering all of this activity, it’s no sur- with “tri,” and that made sense because that’s Wooten is mindful of the wisdom he received prise that the new trio recording Trypnotyx, the feeling in the air about the vibe of what from fellow bassist and music/nature camp alum his 10th album as a leader, is his first release in we’re doing—blending jazz with .” Anthony Wellington, who told him that a lot of five years. Wooten said thatTrypnotyx “goes all Wooten emphasized that Trypnotyx is not a bass players “hold their drummers hostage.” over the place”—with propelling power, rowdy Victor Wooten Trio album. The group is iden- Wooten was committed to making sure that dance-party funk, lyrical balladry and impro- tified as Wooten/Chambers/Franceschini, even didn’t happen in the trio. “Dennis plays the time, visational ecstasy. Additionally, there are DJ though at some stops on their expansive tour- but there are stretches where Bob and I become scratchings (courtesy of Wooten), electronics ing schedule promoters insist on giving the bass- his metronome so he can drum free,” Wooten (Franceschini’s deftly drawn shades of EWI ist top billing. Call it a collective, he said. “I want- said. “He is so active, so he makes it a challenge. and Roland Aerophone) and vocal soundscapes ed the record to be the three of us. We go so far He always plays what the music asks for. He by stand-up comedian and self-described “voic- beyond jazz and it’s so wide open because most doesn’t read music, but his ear is better than most estrumentalist” Michael Winslow. people love all kinds of music. When you hear it, people who read. I send him demos with a drum The album’s loose outline is a “tryp,” with you can’t deny that this is three people who know track and he learns it verbatim. He’s that good. So the book-endings of “Takeoff” and “Landing” what they’re doing—and that excites people. We I started to give him the beat by playing a clicker and tunes such as “DC10,” “Cruising Altitude” make the audience feel and think because all or shaker to free him up for his own drum [voice].” and “Final Approach” scattered within the three of us get the chance to speak. We wanted One of Chamber’s spotlight tunes on Trypnotyx is 14-track program. It’s an animated journey to make a record that was not full of action all Franceschini’s funk-charged “A Little Rice And of stylistic colors and sound effects, wordless the way through, so we brought in some slower Beans,” where his drums dominate even when vocals and even police alarms. tunes to bring the listener into the experience.” he’s not in solo mode. Regarding the Trypnotyx album name, Before recording, the trio hit the road for a In addition to serving as the DJ maestro Franceschini—who wrote the beefy, funk-in- series of dates, exploring a range of tunes to and leaping into his high-velocity, fast-fingered, flamed title track—said that Wooten wanted include on Trypnotyx. It’s worth noting that slap-to-pluck excursions, Wooten makes excel- something beyond the trio designation. First while Wooten and company play jazz venues lent use of the FretTraX, a bass-to-synth MIDI they came up with triptych, an art term that like the Blue Note and Jazz Alley, the bulk of system invented by Nashville-based . refers to a piece with three panels. Then there their stops take place in Flecktones territory: On the album, Wooten triggers loops in steps was the authoritative-sounding word trium- rock clubs, theaters, college campuses and per- and scratches and even generates a Hammond virate, but that didn’t quite hit the mark. “So, forming arts centers that attract a wide range B-3 effect on Franceschini’s swinging tune we kind of made up a word,” Franceschini of listener tastes. “Touring was when the proj- “The 13th Floor.” explained. “It’s a mix of hypnosis and anything ect got really solid,” Wooten said. “We were Wooten’s bass effects and synth sounds via

40 DOWNBEAT FEBRUARY 2018 FretTraX show up all over the album, including explorations and Venugopal’s unison vocal ride He replies: “Well, I believe we already have a tricky fretboard-tapping part on the fast-paced with the leader. Key to the tune is the senti- it. It’s called music. Every country has their own “DC10.” “It seems like the two-hand tapping ment introduced in the “Final Approach” pre- version of it. It works. It brings people together. sounds in 10/4 would be easy, but it’s not,” Wooten lude with a spoken-word conversation between … It’s a language, it’s a lifestyle, and it can save said. “So I had to play it right twice in the studio, Wooten and his family (wife Holly and four the world.” then I let the computer set up the loop instead of kids Kaila, Adam, Arianna and Cameron) The song is a gleeful ride through the coun- playing the hard part all the way through.” about a world teeming with destructive bombs. tryside that conjures up the passions in There are other surprising treats on Wooten points out: “Countries make Wooten’s life as expressed to the University Trypnotyx, including the appearance of bombs … with the goal of hurting people, kill- of Vermont grads. “I get that honesty from Winslow, the so-called “man of 10,000 sound ing people, proving a point.” my brothers and my parents, who guided me effects” who rose to fame via thePolice Academy The family questions: “Is anyone working toward a positive outlook,” he said. “Addressing movies of the 1980s. Winslow opens and closes on a bomb that makes people love each other, music and addressing nature are still safe things the trio’s journey with voice and sound effects a cupid bomb?” to talk about.” DB and jumps into the party on “Funky D” with James Brown-like funky shouts to drive the already deep-grooved vibe. “We were at a fes- tival in Houston when Michael’s manage- ment called us and told us he wanted to sit in,” Wooten said. “So, we had this song that had the funk beat with JB samples. But we knew it would be a challenge to use these on our record- ing. So Michael sat in with us, and we knew he could replace JB. It was all for fun, but it worked so well that we asked him to help on other parts of the album.” There are subtle wordless vocal contribu- tions on two songs by India-based sing- er Varijashree Venugopal. One of the tunes, Wooten’s “Liz & Opie,” starts in 7/4 with open- ing bass lines inspired by . There’s also an almost hidden vocal appear- ance by Moroccan singer/violinist Amir Ali on “Caught In The Act.” “We needed a song that had a big fusion sound with an angular feel,” Wooten said. “We had this going so fast and so energetic that we needed a relief, so we took Bob’s sax part and put it in half time and then decided we needed an Arabic vocalist. We knew Amir, so we asked him to sing something over the top of this.” During his University of Vermont com- mencement talk, at one point Wooten said to the graduates, “I’ve always felt that music is a good way to address the world’s issues.” That’s certainly the case with “Caught In The Act,” which has police sirens and an officer pulling over a presumably innocent driver by shouting, “Step out of the car” and “You’ve been caught in the act, and we don’t want any trouble.” The exchange echoes some of the fatal, racially charged episodes that have made international headlines in recent years. Wooten explained the notion behind the song: “The whole idea is that the music should be enjoyable. But it’s also a responsibility to share awareness. We’re not preaching. We want people to enjoy this song. But we’re also bring- ing up things for people to think about.” An equally profound sentiment is expressed in the socially relevant closer “Cupid,” which gives the album a soft landing with a lyrical joy that’s set in play by Franceschini’s hopeful flute and sailing saxophone, Wooten’s galloping bass

FEBRUARY 2018 DOWNBEAT 41 Blindfold Test BY DAN OUELLETTE Victor Wooten

assist Victor Wooten’s first Blindfold Test was also the first one DAVE GREEN Bever presented on the campus of Berklee College of Music in Boston. The event took place on Nov. 16 at Berklee’s Café 939, which was packed with students and faculty members, including Steve Bailey, chair of the bass department. Wooten, who is on the Berklee staff as Visiting Scholar in Performance Studies, was in the midst of a tour to support his latest release, the trio album Trypnotyx (recorded with drummer Dennis Chambers and saxophonist Bob Franceschini). “What So Never The Dance” (Back In The Day: The Best Of Bootsy, Warner Bros., 1994/ rec’d 1971) Collins, vocals, bass; Clayton ”Chicken” Gunnells, Ronnie Greenway, trum- pets; Randy Wallace, saxophone; Phelps “Catfish” Collins, guitar; Frankie “Kash” Wad- dy, drums; Rufus Allen, vocals. I feel this is from the era when I grew up. But I don’t know who this is. It immediately takes me back to my friend Chuck Rainey. But I don’t think this is Chuck. But I like the fact that the bass was up in the mix. I liked what the bass player was doing. There was variety but he stayed Victor Wooten at Berklee’s Café 939 on Nov. 16 true to the bass line, and that bridge went to interesting places. [An audi- ence member guesses correctly.] It’s Bootsy? That makes complete sense. tracks of bass. I’m hearing some bottom stuff and top stuff at the same When I think of Bootsy from that era, I think of James Brown and “Sex time. But the bass is out front with the guitar playing chords. Somebody Machine.” I recognize Bootsy’s bounce and bubbliness. has to like the bass player a lot to let him get away with that. Of course, it’s Joni. I don’t know that many bass players who can play that busy, but Joni doesn’t mind because she knows how good he is. “Bass-ically Speaking (Take 2)” (Charles Mingus: The Complete Debut Recordings, De- but/Fantasy, 1990, rec’d 1953) Mingus, bass; Billy Taylor, piano; drummer unknown. Usually I preach to play simple if you’re playing behind a singer so the I’m going to make a wild guess: Mingus. You can hear that angular stuff focus can be on the voice. But Jaco’s all over the place. That’s how good in what he’s doing. The oldness of the recording is what made me go to he is with his intonation, his note choices. If you’re going to be busy, you where this is. I can’t tell from the mix why the piano and drums are so need to be that hip. low in the mix. I don’t know Mingus as well as I should, but I knew it was Trio him just from hearing my brothers play him. I loved this. I’m not used to “Blues For Junior” (Some Of My Best Friends Are … Guitarists, Telarc, 2002) Brown, bass; hearing the bass featured in that way where it’s not about chops. It was , guitar; Geoff Keezer, piano; Karriem Riggins, drums. very musical. He’s not playing fast or doing a lot to get his point across. I I’m going to go with Christian McBride. It sounds like someone who has like hearing the bass in the forefront. listened to a lot of Ray Brown. It’s not Ray. This sounds like a newer recording. When I think of Ray, I think of feel but also his simplicity. He Miles Mosley plays everything perfect. He doesn’t play fancy or too fast or try to be too “Abraham” (Uprising, Verve, 2017) Mosley, upright bass, vocals; Christopher Gray, Don- tae Winslow, trumpets; Kamasi Washington, Zane Musa, tenor saxophones; Ryan clever with his note choices. For me, this is the best. He also plays “in” Porter, trombone; Cameron Graves, piano; Brandon Coleman, keyboard; Tony Austin, where a lot of bassists play outside. So, I still want to say Christian, but drums; Leah Zeger, violin; Tom Lea, Mike Whitson, violas; Peter Jacobson, cello. then again, he’s more precise than what I’m hearing here. Ray didn’t play I love it, but I don’t know who this is, what the song is, who the singer is. that precise. [after] Oh, it is Ray Brown? I always wanted to play double What I like particularly is how the bass line has no fills. There’s so much bass. Ray Brown encourages me to do that. I bought a few-hundred-year- space. Who has enough restraint to not do fills? Who has that discipline? old Italian bass. My goal is to make an acoustic record. To leave so much space is a lot harder than a lot of people think. And then that bass solo with that tone and those effects. Who would Steve Bailey do that? It’s got a serious groove. I’m going to take a guess: Abe Laboriel? “Crash & Burn” (Evolution, Victor/JVC, 1994) Bailey, Victor Wooten, basses; Doane Per- No? I liked it because it sounds so current. [An audience member guesses ry, drums. Cool. My kids would know who the fretless bass player is. They know that correctly.] I didn’t know who Miles Mosley was, but I know Miles Mosley sound. It’s Steve Bailey. The other bass player is stumping me a little now. In this band, there must be some kind of [appreciation] for the bass because there are times when it sounds like me. Is that other bassist me? player to take that solo. That’s respect. Miles Mosley. Cool dude. No. It is? I played on this? Seriously? Well, the playing is great [laughs]. Usually if I record something, I remember it. But I don’t remember “Talk To Me” (Don Juan’s Reckless Daughter, Elektra/Asylum, 1977) Mitchell, guitar, this at all. Steve’s like Jaco. Even if you tried, you couldn’t get that sound— vocals; , bass. the long slides, the artificial harmonics. I’m shocked by how no one is He’s often imitated, but it’s so nice to hear the original. This brings me learning the clever stuff he does. DB back. You hear so many of us imitate him that sometimes you can forget what the original sounds like. Coming back to it is such a breath of fresh air. That’s where we came from. After hearing him, so many of us ripped The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is the frets out of our own basses to try to capture that sound. We’re still then asked to rate each tune using a 5-star system. No information is given to the artist trying to capture it. So, I’m going with Jaco Pastorius. It sounds like two prior to the test.

42 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 43 Four days before his 83rd birthday, towards noon, sat at the desk of the ground-floor railroad flat where record executive Joe Fields used to conduct the business of the HighNote and Savant labels.

“Joe gave me an opportunity,” said the tenor saxophonist, sporting a crisp blue gig suit, a well-pressed azure shirt and shiny black leather shoes with comfortable soles on this November afternoon. “I came here to tell him that I wanted to produce my own records. He said, ‘No problem; you got it.’ After I started, other musicians started asking me to do theirs. Joe treated me very fairly. We stayed together forever.” A month before Fields’ passing on July 12, Person had recorded Rain Or Shine, his 21st lead- er release for HighNote since it launched in 1997, along with three duo albums with bassist Ron Carter, a duo recital with pianist Bill Charlap, a tenor battle with and five co-led sessions with singer . Person produced each one, augmenting an impressive producer c.v. that included 15 leader albums and 12 Jones-Person collaborations for Fields’ , HighNote’s predecessor, during the two decades after his 1976 LP . Muse also issued multiple Person-produced soul jazz dates by, among others, organists Groove Holmes, Sonny Phillips, “Brother” Jack McDuff and Joey DeFrancesco, guitarist and vibraphonist Johnny Lytle.

44 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 45 MICHAEL JACKSON

Houston Person’s new album is titled Rain Or Shine.

In the manner of his old friend, Person was “This record is about the blues,” Person Person’s tight, well-produced, commercially focusing on his new release, a nine-song pro- said, pinpointing his default basis of operations. successful 1970s albums on which drummers gram that nods to various corners of the Great “A lot of people think of the blues as 12-bar, but like , and American Songbook. The album title—elid- the blues is also a feeling. When I play, the blues Grady Tate propelled the flow. On “Danny Boy,” ed from the opening track, “Come Rain Or is always close-by, somewhere.” the album closer, Person channels his experi- Come Shine,” by Harold Arlen and Johnny He offered the title track as an example. ence in the Air Force between 1954 and 1958. Mercer—could refer to the extraordinary con- “Arlen played a lot in Harlem, and a lot of his “I used to hear it all the time when I was a sistency of Person’s tenor saxophone playing tunes lend themselves to the blues, like ‘Ill kid,” he recalled. “And when I was in basic on the 70-plus albums he’s made during the Wind’ and ‘Stormy Weather,’ which I’ve record- training in Texas around Christmas time, I half-century that separates Rain Or Shine from ed.” He praised the medium-slow “dancing” played Christmas carols and this song for the Underground Soul, his 1966 debut on Prestige. tempo postulated by his rhythm section—gui- guys in the barracks without accompaniment. The years have not diminished his tone, tarist , pianist Lafayette Harris, We were all lonely, and I was the only guy who which parallels the voice of a baritone singer, bassist Matthew Parrish and drummer Vince had an instrument.” nor the imaginative powers by which he embel- Ector—and the warm, cogent trumpet solo by He continued: “Sometimes I like to close an lishes and honors the melodies with pithy Warren Vaché, a pungent voice on his fourth album with something sentimental, because phrasing, a buttery sound from top to bottom, recorded encounter with Person. people have led us to believe that jazz is with- impeccably calibrated intonation and dynam- “Dance is very important to me,” Person out sentiment. I still try to present people with ics, and an unerring inner metronome, project- said. “Growing up, when I saw Duke Ellington songs they’re familiar with and do simple ing longing, romance, spirituality and jubila- and Count Basie, they weren’t playing a con- things to them so they hear it differently—but tion in equal measure. cert. They were playing adance . Those tempos not so different as to mar the thing you expect. Person draws vocabulary and perspective were always perfect.” And I’ll do things that some jazz musicians from a host of antecedents—early heroes He cited “I Wonder Where Our Love Has won’t touch, that people might not think could Jacquet and Lester Young, r&b tenors Gone,” by the eminent composer-bandleader be presented in that context.” like Sam “The Man” Taylor and Tom Archia; Buddy Johnson, a fellow son of South Carolina Although Person improvises with a less operatic tenors like , Ben (as was the baritone singer Arthur Prysock, declamatory, more conversational and har- Webster and Sonny Rollins; not to mention who first recorded it), as “a song that comes monically efflorescent attitude in response to Eddie “Lockjaw” Davis, , Stanley partly from the blues repertoire.” Carter’s endlessly provocative bass lines on their Turrentine, , , Benny “Never Let Me Go” is not the Jay Livingston 2016 encounter, Chemistry, melodic expression Golson and, not least, Gene Ammons, to whom song that Nat Cole made famous, but the Joe remains paramount. “We let the melody dictate Person has most often been compared—but Scott lyric that gave Johnny Ace a hit in 1954, what happens,” he said. “But the two instru- makes everything his own. As his frequent when Person was in college. ments are free. It’s just about sound—my sound “dueling” partner, reedist Ken Peplowski, Ector’s simmering funk beats on Onaje and Ron’s sound—and simplicity. put it, “You can tell from two notes that it’s Allan Gumbs’ “132nd And Madison” and his “During this period of my life and devel- Houston Person.” shuffle groove on Jones’ “Soupbone” evoke opment, I find that I edit more, watch my

46 DOWNBEAT FEBRUARY 2018 improvisations and keep them from going to play around a singer, play around the mel- how I could improvise—just get up and play my crazy. Some things I don’t even improvise on ody. Great singers love working with him for a version of the song. It was a process. But they anymore, because the melodies are so strong. reason.” kept me in the band.” Person further raised his Sound can really be improvisational, too. You “A singer I really like is Maria Callas,” game after enlisting in the Air Force, where he can bend a note this way or that way, or accent Person said. “Sarah Vaughan. Filling up a served as a clerk and moonlighted as a musi- it in a different place than it was before. Now, room.” He’s applied these aesthetic preferences cian, holding a steady gig in an all-white coun- all that is predicated on the lyric. It’s fun for me when performing with and/or producing lumi- ty-and-western band, and jamming and club- to pay attention to the way Strayhorn, Richard naries like Charles Brown, Barbara Morrison, bing weekends with Seventh Army band Rodgers and all those composers wanted their Ernestine Anderson, Dee Daniels and Freddy members , Eddie Harris, Don songs played.” Cole. Then there’s Arthur Prysock and Little Ellis, and Lex Humphries. “They In separate phone interviews, Charlap and Jimmy Scott, behind whom Person played tolerated me,” Person said. “They encouraged Peplowski, who have both shared numerous in the house band (Moe Cloud and his All me and gave me a chance to develop.” bandstands with Person, testified to his ency- Stars) at a club called the Sundial, in Hartford, After receiving his degree from Hartt, clopedic repertoire. Connecticut, while attending Hartt School of Person moved to New Haven, Connecticut, and “We’re always trying to stump each other Music, where he matriculated in 1958, after then to Boston. He linked up with Hammond with tunes,” said Peplowski, who had collab- leaving the Air Force. B-3 practitioners Gloria Coleman and Johnny orated with Person at an Arizona concert just “I learned how to be quiet,” Person said of Hammond Smith, and made his first sideman a few days earlier. “He does the blues, and he these post-graduate experiences with Prysock recordings with the latter, first on Riverside, can draw from that r&b ‘Texas tenor’ kind of and Scott. “How to fill spaces. Where to play then on Prestige, which signed him in 1966, thing, yet often does material that you wouldn’t and where not to play. I didn’t perfect it with launching a long series of collaborations with organists. “The organ was a church instrument to start with,” Person said. “There’s nothing like it when ‘WHEN I SAW DUKE ELLINGTON you hear that bass line, which is the heartbeat, the anchor, and put everything else on top, with the guitar and the drums. I had to learn to cut AND COUNT BASIE, THEY WEREN’T through that Leslie, so it’s responsible for me developing my sound. But the organ started get- ting burdensome to carry around. They usual- PLAYING A CONCERT; THEY WERE ly were broken when you did get one, and there were very few organ players coming along.” Which is why, during the last three decades, PLAYING A DANCE.’ apart from a few cusp-of-the-’90s albums with a young Joey DeFrancesco, Person has gone associate with that—beautiful, delicate ballads, them, but they kept me there. And I learned a acoustic, often recording with the late Stan Hope interesting, out-of-the-way songs. He plays the lot of songs, and an appreciation for the melo- on piano, but also using pianists like Benny verses. He really thinks about a song’s meaning; dy and the lyric.” Green, Richard Wyands and John di Martino. he’s not just thinking of playing off the changes, Person’s love affair with melody began in More often than not since 1996, he’s retained the though he knows them inside and out. Because childhood in Florence, South Carolina, where services of bassist Ray Drummond. he does, he doesn’t have to outline every single his mother compelled him to study piano, to “Houston is extremely experienced,” chord change. Instead, he implies them. The lis- participate in the choir of the family’s Baptist Drummond said. “He’s got something in mind tener fills in the gaps. We’re getting the essence church and to listen the weekly Saturday- for every tune he records that changes the tradi- of all of his knowledge without him specifical- morning broadcasts from the Metropolitan tional view of that tune, and he gets players who ly laying it all out for us. He’s almost singing Opera, which supplemented a steady airwaves he knows will support what he’s trying to do. alternate melodies to a song as he goes, which is diet of blues and jump music. His playing is so deep—subtle on the one hand, what the essence of jazz is.” “This was before the ascent of the guitar, but hits you on the head like a sledgehammer “Houston knows way more about popular and there were a lot of r&b saxophone players on the other. Everything he does is timeless. song than me,” said Charlap, whose simpati- who I’d imitate,” Person said. During his junior He’s also a seminal producer. When he’d come co with the saxophonist is palpable throughout year of high school, he received a saxophone into Rudy Van Gelder’s studio, he knew what he the 2006 duo album You Taught My Heart To for Christmas. The school’s band director wanted, knew how to ask Rudy a question.” Sing. “He isn’t trying to do everything. He has taught him the basics, but Person “was most- As he progresses through his ninth decade, a clear idea of what he cares about and wants ly engaged in sports” until the jazz band from Person focuses on his next steps, including an to communicate. Simplicity and directness are South Carolina State College, his father’s alma in-process project with singer important to him. There isn’t a pretentious bone mater, played a concert in town. and a prospective organ date. “When I got into in his body. He’s so listenable for musicians and When Person enrolled at SCSC in 1952, he music, I didn’t see any boundary between one non-musicians. None of it is commerce-orient- auditioned for the band and was accepted, join- style or the other,” he said. “I remember that ed. He’s just being himself. ing such future pros as Basie baritone saxo- when I select and do what I do, and I try to put “Hearing Houston play is like hearing a phonist Johnny Williams and arranger Horace my stamp on it. I don’t particularly like labels— great singer—one who sings the blues at the Ott, who would later arrange Person’s 1977 cover ‘smooth jazz,’ ‘soul jazz.’ What do you say when center of everything they do, but can also real- of Fela Kuti’s “I No Get Eye For Back,” recently somebody is doing a little of each? I take each ly sing the song. Singers like Nat Cole, Percy sampled by Kendrick Lamar on “Mortal Man.” individual performance on its merit. Mayfield and Etta Jones are all in his music. “I wasn’t a musician at the time,” Person “I live music. It’s been good to me, and I’m Then there’s his special mastery of being able said. “I could barely read the charts, but some- going to be good to it.” DB

FEBRUARY 2018 DOWNBEAT 47 SHARON JONES

First came the crisis, then the triumph, then the relapse and, finally, the farewell. She died on Nov. 18, 2016, at age 60, but she left behind an impressive posthumous album, Soul Of A Woman (Daptone), and a skillful band, the Dap-Kings, dedicated to preserving her legacy.

his ferocious r&b singer was first diagnosed with pancreatic cancer in 2013. There’s never a good time to find out you have cancer, but the timing was espe- cially bad for Jones. She had gotten a late start on her career, releasing her first album at age 46 in 2002. But by 2013, after four albums and thousands of shows, Jones and her band, the Dap-Kings, were finally enjoying tremendous success for an act on a small, boutique label. Critics have called Jones the “female James Brown” and the Dap-Kings “leaders of a New York City-centered soul revival.” They had graduated from nightclubs to theaters and festivals; they were appearing in movies, TV shows and commercials. Their already completed fifth album,Give The People What They Want, represented their most ambitious and most realized studio work yet. The year was shaping up as their breakout from the soul-revival circuit into the big time. But the health crisis put everything on hold. Barbara Kopple, the documentary filmmaker known forHarlan County, U.S.A. (1976) and Shut Up & Sing (2006), started work on a movie about Jones soon after the diagnosis. Titled Miss Sharon Jones, the film begins with footage of the singer’s pre-2013 concerts, helping viewers understand why she was such an important artist. Onstage, Jones was mesmerizing. A short woman who wore her hair in an Afro, or sometimes tied off into dozens of braids, she commanded the stage in tight-fitting dresses that revealed every twitch of her body. During a concert, her stocky frame was

48 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 49 Sharon Jones (1956–2016) © MARK SHELDON “But we definitely had concerns. We didn’t know how much stamina she’d have. We had not only a Plan B but also plans C and D. We had stools for her to sit down on; we had bal- lads to swap into the setlist. We had instrumen- tals to play, songs for the background singers to sing. But once she got out there, we didn’t have to do any of that. She was as powerful as ever.” The proof is in the movie. We first see her backstage, shaking with nerves, but when she walked on stage in her shiny, sleeveless, green- and-gold, brocade dress, the sold-out crowd stood up with a roar, and you can see her body swelling with confidence. Soon she was doing a different kind of shaking, boogieing from one end of the proscenium to the next as she belted out the songs from Give The People What They Want. Her bald head and gold earrings were gleaming under the lights, as was her smile. Her triumphant look and her bald head were on the cover of the Village Voice that win- ter, and as she raised a copy of the tabloid week- ly to the camera, she told Kopple, “I wish my mother could have seen this after all these years and all this hardship me and the Dap-Kings have gone through. In church Sister Bullock used to sing this song, ‘May all the works I’ve done speak for me … .’ Now I believe all this hard work is finally paying off. That was my goal all along: to do good music, get out there and be recognized.” The Beacon show kicked off two years of Jones performs with The Dap-Kings at the Klipsch Music Center in Noblesville, Indiana, on July 24, 2016. touring by Jones and the Dap-Kings, who were greeted with acclaim nearly everywhere they in constant motion from first note to last; those formed on The Tonight Show with Jay Leno on went. This writer saw them twice during that twitching muscles were a visual representa- Jan. 14, 2014, the day Give The People What They run: in July 2014 at the Vienna State Opera tion of the rhythmic drive and emotional com- Want was released. But the big test would be the House and in April 2016 at the New Orleans mitment she poured into each number. Before first concert at Manhattan’s Beacon Theatre on Jazz & Heritage Festival. long, she would kick off her shoes and begin Feb. 6. In Louisiana, the star of the show was the stalking the stage barefoot as if in vengeful pur- Jones was worried. “Y’all, I’m still taking blue-and-white fringe that formed horizontal suit of every man who’d ever done her wrong— chemo,” she told the Dap-Kings at a rehearsal in lines on her blue-sequin dress. Once Jones start- at least in the stories of her songs. the film. “If I have to stand up or lift or walk, it’s ed singing, that fringe never stopped swinging. But the film follows those concert scenes a whole different thing now. I thought I was get- It shook with every percussive burst of her voice. with a dramatically poignant one. To prepare ting better, but it’s really breaking me down. I’m “I was considered the bandleader,” Roth for her upcoming chemotherapy treatment, weaker now. Why don’t we take it as it goes?” said, “but mostly what I did was translate what Jones visited a hairdresser, who snipped off The eight members of the Dap-Kings—and was coming out of her. I’d watch her face; I’d the singer’s braids one by one and then shaved the backing vocalists known as Saun & Starr— watch her feet. By watching her body, you could her head into a gleaming bald dome. As Jones were worried, too. “That period was a rude tell when she wanted us to pump it up and give rolled her fallen braids in her fingers, her eyes awakening,” said guitarist . her more energy—and when she wanted us to filled with tears. “We’d been working a lot and drawing a steady bring it down and give her more space. Every Later, when resting up after the latest treat- income. Despite the number of people in the time we did a song it was different, depending ment, she told Kopple: “This chemo is kill- band, each of us was making grown-up money. on the room and on how Sharon was feeling.” ing every cell in my body every day. You know Then that balloon deflated really quick. She In Austria, she kicked off the show with her this is tough for me, sitting here not doing any- had always seemed so unstoppable; we couldn’t specialty: uptempo soul shouters such as “You’ll thing. It’s got to be 19 years we’ve been con- imagine anything stopping that train. But then Be Lonely,” “Long Time, Wrong Time” and stantly going … . Everybody needs the money. something did. We were hoping it would be a “New Shoes.” But then she revealed another side I’m responsible for everyone’s payroll; we’ve got temporary situation, and when we got back of her music. She sang a snippet of the James to get out there.” together again and were working, it was great. Bond theme “Goldfinger,” which she’d record- But the new album had been put on hold But we never knew how long it would last.” ed for the soundtrack to Martin Scorsese’s 2013 until Jones was healthy enough that they could “The night of the Beacon show, we were film The Wolf of Wall Street. The ornate rendi- tour to support the record. After six months of very overjoyed that she’d recovered her health tion segued smoothly into her own smoldering chemo, the doctors gave her the OK to go back and had made it as far as she had,” added bass- song of seduction, “You’re Gonna Get It,” which to work. Sharon Jones & The Dap-Kings per- ist/bandleader Gabe Roth (aka ). she’d recorded for the Glenn Close TV series

50 DOWNBEAT FEBRUARY 2018 Damages. Here was proof that Jones could milk to start off as a show band, playing the kind of ed, the tours and recording went on. On some a ballad as skillfully as belt a dance number. raw soul songs that are red meat for Sharon, days, Jones felt weak. But on the days she felt up Here was proof that the Dap-Kings could create then gradually get quieter. On ‘Searching For to it, she and the Dap-Kings would work in the a mood as ably as they dug a groove. A New Day,’ the strings sneak in at the end. recording studio. Roth, co-owner of and Jones’ Then it gets moodier and more sophisticated as Then on Nov. 8—Election Day in the longtime producer, decided that the , the record goes on, before we bring it all back United States—Jones suffered a stroke. She Soul Of A Woman, would focus on such ballads. home on the gospel song ‘Call On God.’” (Jones joked that Donald Trump had given it to her, He held back three of the slower songs from had composed the song in the 1970s for E.L. but the next day she had a more severe stroke Give The People What They Want and encour- Fields’ Gospel Wonders, a choir she sang with that left her unable to talk. The entire organiza- aged his bandmates to write more in that vein. throughout most of her life at the Universal tion—musicians, singers, managers, etc.—trav- “We’ve recorded ballads before,” Roth Church of God in New York.) eled to the hospital in Cooperstown, New York. pointed out, “but these newer songs are lusher, Never were the Dap-Tones more successful They stayed with her until she died on Nov. 18. more dramatic, more cinematic.” than during the 2014–’15 tour when Jones first “It was terrible and beautiful at the same It’s a revealing aspect of Jones’ musical per- returned from chemo. The movie had its pre- time,” Griptite said. “Terrible to lose your sonality. “Searching For A New Day” echoes miere at the Toronto Film Festival in September friend, but beautiful to spend that time with Curtis Mayfield’s soundtrack work with Gladys 2015, but before this feel-good story about each other. During that time when she couldn’t Knight and . “These Tears (No Jones’ beating the odds could reach the public, speak, she was cognizant and aware; she com- Longer For You)” echoes Burt Bacharach’s some bad news arrived: The cancer was back. municated as best she could. We’d pass a guitar work with . “Girl! (You Got To “We had a lot of talks about how to handle around and sing. We heard her make a noise, Forgive Him)” echoes John Barry’s soundtrack that news, because it didn’t go with the narrative and we thought she was moaning in pain. But work with Shirley Bassey (who recorded of victory that the filmmakers were putting for- when we listened closely, we realized she was “Goldfinger” in 1964). Both Jones and her band ward,” Roth said. “But Sharon was adamant; it humming ‘Amazing Grace.’” know when to hold back as the atmosphere was important for her to be totally honest with “A while later, she’d sing with Saun & Starr,” thickens and when to let go. her audience. She didn’t know how to be dis- Roth said. “The moans became harmonies, and “As Sharon got more and more sick,” Roth honest; she came as fully herself at every show. It the harmonies became words. She was singing said, “it became obvious that it didn’t make soon became clear that management or no man- with words, and the doctors couldn’t explain it, sense to plan for a symphony tour that prob- agement, Sharon was going to do what she was because she couldn’t speak at any other time. ably would never happen. We wanted to show going to do. And it fell very heavy on the audience, The music part of her was still working, even that other side of Sharon, but we couldn’t ignore because they’d just seen this uplifting movie and when the other parts weren’t. It was so happy the first side, the carnivorous stage singer. So we here was this bad news. It got very quiet.” and so sad. We were able to sing along with her decided to do this record as side A and side B, Even though the chemo treatments restart- even as we were watching her fade away.” DB

FEBRUARY 2018 DOWNBEAT 51 52 DOWNBEAT FEBRUARY 2018 Our annual Jazz Venue Guide is your passport to excellent music rooms around the globe. On the following pages, the listings are divided by geo- graphic region, and a venue’s name in boldface capital letters indicates there is an advertisement for that establishment within this guide. Interspersed among the listings are features on four venues: Jazz Standard in New York City (page 54), Wally’s Cafe in Boston (page 59), in Chicago (page 62) and Dièse Onze in Montreal (Page 70). On page 68, we present an article on the bustling jazz scene in Vienna, Austria, which is home to numerous jazz clubs.

FEBRUARY 2018 DOWNBEAT 53 plays the Jazz Showcase, which is celebrating 70 years of bop in Chicago. See page 62. (Photo: © Mark Sheldon) ©JACK VARTOOGIAN FRONTROWPHOTOS

Maria Schneider directs her namesake orchestra at Jazz Standard in New York.

THE MARIA SCHNEIDER ORCHESTRA important to be very authentic.” ni , Jeff “Tain” Watts and, at the played its first shows at New York’s Jazz Standard In the early years of the club, which opened podium, Gunther Schuller. WBGO broadcast Jan. 19–23, 2000. The shows were a critical and at its 27th Street location in 1997, titans of the event live on NPR’s Toast of the Nation. commercial success. That they yieldedDays Of straightahead piano like Cedar Walton and “I said, ‘If this comes out OK, we should Wine And Roses, the orchestra’s first live record- held forth. In a rare club think about bringing it out as a recording,’” ing, made them historic. date, pianist André Previn appeared with bass- Abramson recalled. Despite challenges— So when Schneider opened her show at the ist David Finck in a performance recorded and not least maintaining momentum—he and club this past Thanksgiving Eve with “Days Of released by Deutsche Grammophon in 2001. Sue Mingus, the co-producers, persevered. Wine And Roses,” there was more than the usual At the same time, a generation of future key- Two years later, Live At Jazz holiday cheer flowing among the crowd packed board stars enjoyed early major-club exposure, Standard won the Grammy for Best Large Jazz into the multi-tiered basement space. among them , Robert Glasper and Ensemble album—the first for the group. “I love the proximity of the audience to the Bill Charlap. When it comes to meeting the demands of band,” she said before the first set. “Everybody In time, cultural horizons broadened. “One the market, the club has often been ahead of the is happy to be here. And that makes the band of the things that’s changed is that some of the programming curve. It was, for example, among play great.” most exciting things have come from the Latin the first clubs to abandon the custom of strictly Great playing has never been in short supply jazz side,” Abramson said, citing the work of booking six-night engagements. at the club, though management has over the Miguel Zenón, Yosvany Terry and Dafnis Prieto. “It was a natural evolution and a necessity for years made changes in the extra-musical realm. On the more adventurous side, a high point making things work,” Abramson said. For starters, the definite article was excised from occurred on April 28, 2008, when trumpet- The club’s programming continues to evolve. the club’s name: It is now Jazz Standard, sans er Ambrose Akinmusire, then an up-and-com- Last summer, it launched a Sunday brunch for “the”—a change made after a 2001 renovation er, first mesmerized the audience with a quartet emerging artists. “It went well,” Abramson said, and reopening in March 2002. that included saxophonist Mark Turner, pianist though the brunch lost a bit of steam in the fall With the shorter name came a simplification Aaron Parks, bassist Ben Street and drummer when it switched to Saturdays to make way for in the gastronomic strategy: In the post-9/11 Eric Harland. a pre-existing program for school children, Jazz world, frills were out—and in response, the “He had this aura,” Abramson said. “I saw it for Kids. But, he added, he thinks the Saturday kitchen ditched mainstays like roast pheasant right away—that intangible thing.” brunch can build a loyal audience. with julienned rose-petal sauce for barbeque. The club has become one of the most reliable Meanwhile, the club is still taking risks. In But the programming philosophy hasn’t destinations for large ensembles, including March, Jazzmeia Horn, who hasn’t played as a changed. “For the identity of the club, it’s Schneider’s, Ryan Truesdell’s Gil Evans Project leader at the club, will appear for three nights—a important that the programming is consis- and the Mingus Big Band, which has held down recognition of the buzz surrounding the singer. tent,” said Seth Abramson, the longtime artistic Monday nights since October 2008. Such decisions have often worked to the advan- director. “Whether it’s Latin jazz or straighta- The band held a landmark concert on New tage of the jazz public—and the club. head to more modern, to sometimes pushing Year’s Eve 2009, when it celebrated the 50th anni- “In all likelihood,” Abramson said, “this will the envelope a little bit on more adventurous versary of the classic albums , be our best year to date for the bottom line.” stuff that’s right for the space—within that, it’s and Blues & Roots with alum- —Phillip Lutz

54 DOWNBEAT FEBRUARY 2018 EAST

CONNECTICUT Firehouse 12 45 Crown St. New Haven, CT BIGMETFAN (203) 785-0468 firehouse12.com Located in the historic Ninth Square District, Firehouse 12 boasts a recording studio/75- seat auditorium dedicated to disseminating improvised music. Regional talent and national acts like Tim Berne’s Snakeoil, Nels Cline and Yosvany Terry grace the stage during Firehouse 12’s jazz shows. The Side Door Jazz Club 85 Lyme St. Old Lyme, CT (860) 434-2600 thesidedoorjazz.com The Side Door is more than just a clever The Jazz Gallery in New York name. This club is tucked into the historic Old Lyme Inn, which was given a new lease MASSACHUSETTS Upcoming shows include Bria Skonberg on life with a full renovation a few years (Jan. 20), Monty Alexander (Jan. 26) and Bill ago. The club opened in 2013 with the Chianti Tuscan Restaurant & Jazz Charlap (Jan. 27). goal of bringing world class musicians to Connecticut. Warren Wolf, Dayna Stephens, Lounge Russell Malone and Johnny O’Neal are only a 285 Cabot St. Wally’s Café Jazz Club handful of the acts that have recently played Beverly, MA 427 Massachusetts Ave. the intimate venue. (978) 921-2233 Boston, MA chiantibeverly.com (617) 424-1408 MARYLAND Chianti is a jazz spot with an overriding wallyscafe.com mission. The venue is dedicated to supporting Family run since the late 1940s, this jazz An Die Musik Live! area jazz, an issue championed by the club is focused on jam sessions. Each night, 409 N. Charles St. famous jazz advocate Sandy Berman, who an open mic begins the evening, giving way Baltimore, MD died of cancer in 1991. Six nights a week, to a genre-specific concert. Dubbed “the (410) 385-2638 listeners can catch jazz shows by regional musicians’ training ground,” the owners andiemusiklive.com and national artists. truly aim to prepare the next generation of This venue embraces much more than jazz, musicians for the spotlight. bringing classical and world music shows Lilypad to a historic townhouse in the city. The 1353 Cambridge St. NEW JERSEY lineup juxtaposes the biggest names in jazz, Cambridge, MA like McCoy Tyner, and Bill (617) 955-7729 Robin’s Nest Rhythm & Blues Frisell with less well-known artists. Peabody lilypadinman.com 3103 Tremley Point Rd. students also get a chance to apply their For more than a decade, the Lilypad has been Linden, NJ studies during jam sessions. the place to hear a little bit of everything— (908) 275-3043 music, comedy and even spoken-word robinsnestrhythmandblues.com Bethesda Blues & Jazz Supper Club performances. Jazz acts that recently Going for “great Mississippi feel in the heart 7719 Wisconsin Ave. performed at the venue, which is located in the of New Jersey,” this venue strives to create Bethesda, MD heart of Inman Square, include the Joe Hunt an immersive juke joint experience. Sunday (240) 330-4500 Group and the Tim Miller Quartet. is reserved for a jazz open mic , bethesdabluesjazz.com and there are themed open mic sessions throughout the week. Before transforming into one of the best Regattabar venues in Bethesda, the Blues & Jazz 1 Bennett St. Super Club started life as a late-’30s movie Cambridge, MA Shanghai Jazz palace. The historic Bethesda Theatre is (617) 661-5000 24 Main St. now a glitzy supper club with a seating regattabarjazz.com Madison, NJ capacity of 500, with promoters booking a On the third floor of the Charles Hotel, this (973) 822-2899 range of musicians nearly every night of the 220-seat listening room welcomes a range of shanghaijazz.com week. famous and lesser-known acts. The owners Shanghai Jazz brings an assortment of have been bringing quality jazz to the area music to the 1930s Shanghai themed Caton Castle Lounge & Package since 1985. restaurant six nights each week. The goal Goods is to make customers feel like they’re in 20 South Caton Ave. Scullers Jazz Club the “Paris of the Orient” while listening to Baltimore, MD 400 Soldiers Field Rd. musicians like Claudio Roditi, Jan Findlay (410) 566-7086 Boston, MA and Don Braden. catoncastle.com (866) 777-8932 Canton Castle has an informal atmosphere; scullersjazz.com Trumpets Jazz Club listeners looking for local jazz and blues acts Scullers Jazz Club has a long history 6 Depot Square can feel free to dress casually and immerse as a Boston jazz spot. Now located in Montclair, NJ themselves in the music. Local musicians a DoubleTree hotel the club presents (973) 744-2600 stack the calendar, but bigger-name jazz acts marquee acts on the weekends and local trumpetsjazz.com occasionally stop by. talent on Wednesdays and Thursdays. Jazz is the name of the game five nights

FEBRUARY 2018 DOWNBEAT 55 ANNIE LESSER

(le) Poisson Rouge in New York Bethesda Blues & Jazz Supper Club in Bethesda, Maryland each week at Trumpets, and it’s been that Club Bonafide Iridium way for more than three decades. Blues 212 East 52nd St. 1650 Broadway and classical music are also presented, but New York, NY New York, NY Trumpets is certainly geared toward the jazz (646) 918-6189 (212) 582-2121 lover. Houston Person, John Stowell and clubbonafide.com theiridium.com Don Braden are among the jazz-leaning acts No longer the center of the jazz world, The Iridium bills itself as bringing jazz, rock booked at the club. 52nd Street is still home to venues that and blues to the city, but it’s famous in offer wide-ranging takes on the evolution jazz circles for the exceptional live albums NEW YORK of jazz music. Club Bonafide recently recorded at the venue over the years. presented shows from bands like Snarky Current booking includes rock and pop acts. 55 Bar Puppy spin-off Ghost-Note and the Harry Upcoming shows include (Dec. 55 Christopher St. Smith Quartet. 26–27), (Dec. 30–31) and Albert New York, NY Lee (Jan. 3–4). Once a month, “Mondays at (212) 929-9883 Cornelia Street Café the House” showcases emerging artists. 55bar.com 29 Cornelia St. Bookers promote a healthy mix of jazz, blues New York, NY The Jazz Gallery and funk at this basement 1160 Broadway, 5th floor spot. A tasty cocktail is appropriate for a (219) 989-9319 venue that touts itself as “a Prohibition-Era corneliastreetcafe.com New York, NY dive bar.” Legendary guitarist Mike Stern will In business for more than 40 years, this (646) 494-3625 play there on Dec. 31. Greenwich Village spot that is “a culinary as jazzgallery.org well as a cultural landmark,” per a mayoral With a dedication to commissioning new works Birdland proclamation. Bookers stack the lineup with from less-established artists, the owners of 315 W. 44th St. a variety of musical performances as well the Jazz Gallery have created a unique space as readings and a lecture series. Upcoming with a goal of cultivating the next generation of New York, NY shows include Lage Lund (Dec. 29), Tom jazz talent. This small jazz space also tries to (212) 581-3080 Rainey (Dec. 30), ’s Ribs & book the best jazz musicians out there today birdlandjazz.com Brisket Revue (Dec. 31) and the Andrea mixed with more adventurous programming; Birdland has now risen from the ashes twice, Wolper Quartet (Jan. 3). in November, an evening of Gamelan music and it’s still flying high. The top acts in jazz shared the calendar with gigs by drummer continue to be booked on a nightly basis, Dizzy’s Club Coca-Cola Johnathan Blake and the big band fueled Jazz just as they were seven decades ago when 10 Columbus Circle, 5th Floor Composers Showcase. Birdland sat a block west from the jazz mecca New York, NY of 52nd Street. John Pizzarelli will have a residency from Jan. 16–20, followed by (212) 258-9595 Jazz Standard ’s residency on Jan. 23–27. jazz.org/dizzys 116 E. 27th St. Bands that frequent the venue include Arturo At Dizzy’s Club Coca-Cola, the view behind New York, NY O’Farrill’s Afro Latin Jazz Orchestra and the the stage can be breathtaking, but the (212) 576-2232 Birdland Big Band. musicians who perform in front of the floor- jazzstandard.com to-ceiling window overlooking Columbus For nearly a decade, the Mingus Big Band Blue Note Circle are pretty good, too. After nightly has played two sets at the Jazz Standard performances by renowned musicians like each Monday night. The Maria Schneider 131 W. Third St. Steve Nelson, Wycliffe Gordon and Dayna New York, NY Orchestra has a long history with the venue, Stephens, lesser-known acts take over. which has also presented shows by Donny (212) 475-8592 McCaslin, Bill Frisell, , Matt bluenote.net Wilson and dozens of other major jazz stars. The Blue Note has spread its brand throughout Fat Cat the world, but the New York location still 75 Christopher St. remains the center of the jazz universe. New York, NY (le) Poisson Rouge Everybody who’s everybody has been (212) 675-6056 158 Bleecker St. associated with Blue Note, and the history fatcatmusic.org New York, NY of the venue is intertwined with the history Early birds need not look into the Fat Cat (212) 505-3474 of jazz. These days, listeners can find Chick jam session; four nights a week, the session lpr.com Corea, Jimmy Heath and his big band, Dee Dee begins at 12:30 a.m., and it’s an hour later Le Poisson Rouge rose from the ashes of Bridgewater and other luminaries at the club. on Friday and Saturday. For jazz lovers who the noted jazz club The Village Gate, but Upcoming residencies include need more sleep, Fat Cat bookers present that doesn’t mean bookers rely on a steady (Jan. 15–18), Ray Angry with Warren Wolf (Jan. a range of jazz earlier in the evenings diet of jazz acts. The venue highlights a 22–24) and José James (Feb. 5–8) throughout the week. broad range of musicians, with everything

56 DOWNBEAT FEBRUARY 2018 from classical to rock hitting the stage. The Nublu On Sunday through Thursday, admission venue’s jazz shows feature the country’s top 151 Avenue C into the venue Mezzrow includes a pass musicians, such as Wadada Leo Smith and for Smalls Jazz Club (good for the same John Hollenbeck. New York, NY evening). Smalls has recently booked the (646) 546-5206 Akiko Tsuruga Quartet, the Adam Larson nublu.net Quartet and the Mark Whitfield Trio. Mezzrow Nublu is a live music venue, and it’s a record 163 W. 10th St. label, and it presents the Nublu Jazz Festival, New York, NY which has premiered in New York, São Paulo (646) 476-4346 2751 Broadway and . Nublu showcases DJs, jazz New York, NY and rock at 151 Avenue C and at its “classic” mezzrow.com (212) 864-6662 While clarinetist Milton Mezzrow may have location at 62 Avenue C. been the inspiration for the club’s name, smokejazz.com Mezzrow, which is owned by the folks who Even though this 50-seat club isn’t the largest ShapeShifter Lab venue in town, booking agents pack the run Smalls Jazz Club, presents intimate music 18 Whitwell Place with a heavy focus on pianists and duos. On club with huge names. Musicians play there Brooklyn, NY every night of the week. Bill Charlap, Vincent Sunday through Thursday, admission into (646) 820-9452 Mezzrow includes a pass for Smalls Jazz Club Herring and Kenny Washington are among shapeshifterlab.com (good for the same evening). For example, on the recent stars showcased at the venue. Creative Director Matthew Garrison and Sept. 26, fans caught a duo show by Julian The venue owners are involved with the label Director Fortuna Sung have worked to create Lage and Steve Swallow at Mezzrow, then Smoke Sessions Records, and fans can a space that mixes a variety of different headed over to Smalls for a set by the Lucas purchase CDs right at the bar. genres. One night could highlight a Jeff Pino No Net Nonet. Buckley tribute concert, and the next might The Stone feature the jazz group Mostly Other People Avenue C at 2nd St. (until Feb. 2018) Minton’s Do the Killing. 55. W. 13th Street (Feb. 2018 onward) 206 W. 118th St. New York, NY New York, NY SMALLS (212) 488-2705 (until Feb. 2018) (212) 243-2222 183 W. 10th St. thestonenyc.com; newschool.edu mintonsharlem.com New York, NY This non-profit venue was founded by In the 1930s Minton’s Playhouse became (646) 476-4346 musician John Zorn as a space dedicated the go-to place to hear adventurous jazz, smallslive.com to avant-garde and experimental music. and the venue soon rightly earned its place Smalls started as a noted jazz club, a must- After a 13 years on Avenue C, in February in the annals of jazz history. Minton’s is stop haunt for the best musicians, but has the acclaimed venue will move to The New the product of that same pioneering spirit, expanded its reach in the genre with a series School’s College of Performing Arts’ Glass reopening in 2013 to keep the history intact. of live recordings. The Smalls Live record Box performance space in Arnhold Hall. In the The club now presents a range of music label works to capture the fire that happens new partnership, The Stone’s tradition of being acts, with many of them leaning toward the at the club every single night. These concerts an artist-centric venue will continue, and there jazz realm. can also be streamed on the venue’s website. will be increased opportunities for students.

FEBRUARY 2018 DOWNBEAT 57 The Village Vanguard 178 7th Ave. S. New York, NY (212) 255-4037 villagevanguard.com DANIEL SARVER This iconic venue is one of the most famous in jazz history. The noted Vanguard Jazz Orchestra has a running Monday gig, and the rest of the week is reserved for the biggest names in jazz. Musicians like John Zorn, and Ravi Coltrane all play lengthy residencies at the club. Seemingly everyone from Sonny Rollins and to has recorded a live record at the Village Vanguard. The Bad Plus selected this venue for its final shows with pianist Ethan Iverson in the lineup. PENNSYLVANIA Chris’ Jazz Café 1421 Sansom St. Philadelphia, PA (215) 568-3131 chrisjazzcafe.com With an all-ages show policy and discounted tickets for students, Chris’ Jazz Café caters to Lilypad in Cambridge, Massachusetts the next generation of jazz musicians without explicitly spelling out that goal. Weekday shows are reserved for lesser-known talent, The 10-room Deer Head Inn, which markets bluesalley.com and on the weekends, listeners can see jazz “sumptuous” dinner fare and a range of Roberta Gambarini, and luminaries like Pat Martino, Kurt Rosenwinkel local beers on tap, brings a range of jazz Freddy Cole represent the caliber of and Joey DeFrancesco. acts to the Pocono Mountains. Jazz has internationally known jazz musicians Blues been the music of choice at the club since Alley books for multi-night residencies Deer Head Inn 1950, but the inn’s notoriety really started around twice a month. For the remainder of 5 Main St. to build in the 1960s and has grown across its 360-days-of-music schedule, the venue Delaware Water Gap, PA two ownership changes. Concerts, which is packed with local and regional talent (570) 424-2000 have recently included and covering a variety of genres. The venue has Houston Person, happen Thursday through a 50-year history, and the staff’s devotion deerheadinn.com Sunday nights. to jazz education is particularly impressive. MCG JAZZ KC JAZZ CLUB AT THE KENNEDY 1815 Metropolitan St. CENTER Pittsburgh, PA 2700 F Street NW (412) 322-0800 Washington, D.C. mcgjazz.org (202) 416-8524 Manchester Craftsmen’s Guild has been kennedy-center.org a staple of the Pittsburgh jazz scene for Housed inside the Kennedy Center arts 31 years. During the 13-show season in complex is the KC Jazz Club, which has 2017–’18, musicians like Arturo Sandoval, a 160-seat capacity for seated shows, Earl Klugh and grace and room for 250 for standing shows. the 350-seat music hall. The owners say they Pianist Jason Moran, who serves as the have a mission to “preserve, present and Kennedy Center Artistic Director for Jazz, promote jazz,” which is accomplished through occasionally performs, but he also curates live performances, live concert recordings the programming, bringing a blend of and educational programs. Students can emerging jazz talent and nationally known attend shows at free or discounted rates, musicians. Moran helps bring large jazz and MCG frequently hosts master classes by acts to other performance spaces in touring artists. the Kennedy Center, too. is booked for the KC Jazz Club on Jan. South Jazz Parlor 19–20, and Eric Harland will play there on 600 N. Broad St. Feb. 9. Philadelphia, PA (215) 600-0220 Twins Jazz Lounge southrestaurant.net 1344 U Street NW This jazz venue is nestled in the highly rated Washington, D.C. South restaurant, which is among the best (202) 234-0072 places to eat in Philadelphia. A weekly jazz twinsjazz.com jam hosted by the Leon Jordan Sr. Trio The original Twins began as a 1980s shares the schedule with routine appearances Ethiopian restaurant in a space where jazz by notable bands like the Warren Wolf Quintet had once ruled supreme. It didn’t take long and Carmen Lundy’s ensemble. for the music to once again take over, and now, after a 2000 relocation to the U Street WASHINGTON, D.C. Corridor, jazz is the main course. Students get half-priced tickets for some Friday Blues Alley concerts. The Ethiopian food is still served, 1073 Wisconsin Ave. NW but patrons can now hear acts like Tim Washington, D.C. Whalen, Joe Vetter, Levon Mikaelian and (202) 337-4141 the Twins Jazz Orchestra.

58 DOWNBEAT FEBRUARY 2018 MICHAEL JACKSON Akinmusire, Aaron Goldberg or Vicente Archer have been known to drop by to hang or jam. Wally’s proudly labels itself a “musicians’ training ground,” and bandstand protagonists of three generations enthusiastically back up the claim. Trumpeter Jason Palmer, a 20-year veteran began his career at this modest forum, said: “The owners are always encouraging, open to my bringing in tunes and musicians. They never told me to play a certain way, and that’s given me freedom to experiment.” Italian trumpeter Cosimo Boni, a Berklee grad student, concurred: “Wally’s just says, ‘There’s jazz or blues or funk tonight.’ So peo- ple come for the music, not for you. It makes you question how to engage the audience and teaches you to read their vibe and atten- tion level. It’s like stand-up: Try your new joke to see if people get it. How’s your tim- ing? Adjust your expectations. Try new tem- pos, sequences.” “ introduced me to Wally’s in 1997,” Palmer recalled. “He saw me walking by Berklee to NEC with my trumpet case, had me sit in and call a tune, and took me under his wing. He was rooming with Darren Barrett, now a Berklee colleague. I’ve played there ever since. I hosted Sundays from 2002, and later added Fridays and Saturdays.” He leads 10 p.m. weekend sets currently with Noah Preminger (saxophone), Lee Fish (drums), Max Light (guitar), Domi Degalle (piano) and Simon Willson (bass). Their album of origi- nals recorded live by Jimmy Katz is due out in April on SteepleChase. On a recent night at Wally’s, Boni led a Wally’s Café Jazz Club has served as a training ground for generations of musicians in Boston. quartet through a playful Monk set. “Lately I’ve been working on a concept in lessons with Joe Lovano of cueing the band through my phrases,” Boni said. “This group can react when I turn a ballad into bossa nova or dou- ble-time.” They did that after Boni opened “Ask Me Now” alone. Later Israeli pianist Tom Oren launched a super-slinky “In Walked WALLY’S IS THE WORLD’S OLDEST BLACK- ticing open-handed generosity. “When high Bud” as alto saxophonist Jonathan Goetz owned, continuously operating jazz club. school students from New Jersey attended joined them, and the five played an electric Founded in 1947 by Joseph L. Walcott, Wally’s Berklee’s summer program a few years ago,” “Evidence.” Café Jazz Club is located in Boston’s histor- said Elynor, “they had no housing funds, so Saxophonist Grace Kelly referred to the ic Jazz Corner (Massachusetts Avenue and some stayed with me and our family.” club as “our historic, buzzing home.” She Columbus). Barbados-born Walcott built Since Walcott died in 1998 at age 101, little added, “Sundays with Jason’s band, we’d play Wally’s as an oasis where the black commu- has changed the 20- by 80-foot bandbox. Its originals, go anywhere, everywhere, pick up nity could socialize and listen to bands led by brick wall of photos and tables face a well- on the room’s great energy. It’s a playground Sabby Lewis, Jimmy Tyler, J.C. Higginbotham stocked bar lit brighter than the cramped, to work stuff out—the opposite of pristine and and Alan Dawson, and guests like Sarah low bandstand. Policies stand firm: no cover, sterile.” Vaughan, , , Stan quick service, low-cost name-brand drinks. Bassist Sahil Warsi, who’s from Delhi, led Getz and Coleman Hawkins. The music is usually jazz, but fans might also sets with Andrew DeNicola (alto saxophone), Walcott engaged the community, letting hear salsa, blues or funk. Mitchell Selib (guitar) and Samuël Bolduc school kids practice on the house piano There are three sets nightly, showcasing (drums) and loves Wally’s atmosphere: “In an and hosting neighborhood holiday dinners. young players honing their craft and sea- era where music is increasingly electronic, syn- Daughter Elynor and her sons Paul, Frank and soned pros perfecting it. When in town, thesized and over-produced, it’s good knowing Lloyd Poindexter maintain that commitment Wally’s alumni like the Marsalis brothers, Roy there’s a space where I still get to play raw, messy today, hosting open-minded music and prac- Hargrove, Tim Warfield, Sean Jones, Ambrose tunes.” —Fred Bouchard

FEBRUARY 2018 DOWNBEAT 59 SOUTH

The Maison 508 Frenchmen St. New Orleans, LA (504) 371-5543 maisonfrenchmen.com LARRY COLTHARP On two stages, Maison bookers bring funk and brass bands to a clientele of tourists and locals. Any night of the week, listeners might catch a regional brass band or a touring national act. During dinner hours, traditional jazz is provided until 10 p.m. The Maple Leaf Bar 8316 Oak St. New Orleans, LA (504) 866-9359 mapleleafbar.com Joey Gilmore Band performs at Bradfordville Blues Club in Tallahassee, Florida. This venue has a deep history of jazz presentation. The Rebirth Brass Band plays on Tuesdays, and the rest of the week is reserved for open-mic performances, and FLORIDA given over to a mix of jazz, funk and blues. the weekend routinely features national jazz Blue Bamboo Center for the Arts talent, such as Christian McBride, Kenny 1905 Kentucky Ave. Garrett and Gretchen Parlato. Palm Court Jazz Café Winter Park, FL 1204 Decatur St. (407) 636-9951 LOUISIANA New Orleans, LA bluebambooartcenter.com (504) 525-0200 Ignacio Berroa, Selwyn Birchwood, the Fred Blue Nile palmcourtjazzcafe.com Hughes Trio: This diverse array of artists is 532 Frenchmen St. Palm Court packs its music offerings with typical of the bookings at the Blue Bamboo New Orleans, LA traditional jazz five nights per week. The Center for the Arts, which also has a gallery (504) 948-2583 French Quarter venue pairs its regionally space. In addition to music, the venue bluenilelive.com appropriate jazz with local cuisine. presents dance, theater and spoken-word Here at one of the oldest clubs on Frenchmen performances. Live shows happen most Street, listeners can hear an assortment Preservation Hall nights of the week. Bill Cunliffe will perform of traditional New Orleans jazz and more 726 St. Peter St. with his trio on March 3. contemporary fare. There are two stages, and New Orleans, LA shows take place six nights a week. (504) 522-2841 Bradfordville Blues Club preservationhall.com 7152 Moses Lane d.b.a Preservation Hall is one of the most famous Tallahassee, FL 618 Frenchmen St. venues in New Orleans, so visitors will likely (850) 906-0766 New Orleans, LA contend with quite a few tourists during the bradfordvilleblues.com (504) 942-3731 multiple sets each night. The Preservation This venue has colorful history as a dbaneworleans.com Hall Jazz Band is the big name in the lights barbeque establishment that presents live This club has been firmly planted in New here, but the venue also books a range of music. The club is a bit out of the way—it’s Orleans jazz lore for about two decades. local and national acts. It’s an all-ages venue. situated among fields and oak trees outside Patrons come here to get a dose of local jazz Tallahassee—so it’s a scenic trip. Upcoming and blues, with performances by artists such Prime Example shows include Johnny Rawls (Feb. 14) and as Hot Club of New Orleans, the Treme Brass 1909 N. Broad St. James Armstrong (Feb. 17). Band and Walter “Wolfman” Washington. New Orleans, LA (504) 701-9007 Heidi’s Jazz Club Fritzel’s European Jazz Pub primeexamplejazz.com 7 North Orlando Ave. 733 Bourbon St. Local acts perform at this “jazz, blues and Cocoa Beach, FL New Orleans, LA food” venue throughout the week. Tuesday (321) 783-4559 (504) 586-4800 nights are reserved for jam sessions. heidisjazzclub.com fritzelsjazz.net Founded in 1992 to foster the jazz For authentic Dixieland and New Orleans jazz SNUG HARBOR JAZZ BISTRO scene on Florida’s Space Coast, Heidi’s music, Fritzel’s is the place. Founded in 1969, 626 Frenchmen St. presents local and regional jazz acts every Fritzel’s is situated in an 1830s building. The New Orleans, LA Wednesday through Sunday. Each week is Dukes of Dixieland will play on Dec. 31. (504) 949-0696 capped off with a jam session. Artists who snugjazz.com have performed at the venue include Bria Jazz Playhouse For more than three decades, Snug Harbor Skonberg, and Allan Harris. 300 Bourbon St. has welcomed a veritable who’s who of New Orleans, LA jazz artists. Music happens every night of GEORGIA (504) 553-2299 the week. Delfeayo Marsalis’ Uptown Jazz sonesta.com/us/louisiana/new-orleans/ Orchestra plays on Wednesdays. Velvet Note royal-sonesta-new-orleans/jazzplayhouse 4075 Old Milton Pkwy. Formerly called Irvin Mayfield’s Jazz Spotted Cat Alpharetta, GA Playhouse, the venue, which is situated in 623 Frenchmen St. (855) 583-5838 the Royal Sonesta Hotel, cut ties with the New Orleans, LA thevelvetnote.com trumpeter in the fall of 2016. That ended a (504) 943-3887 The Velvet Note, located a 30-minute drive seven-year residency with the trumpeter. spottedcatmusicclub.com from midtown Atlanta, is now the only jazz Today, the club books acts like Gerald French With three different bands playing each club in the metro area. Thursday nights are and the Original Tuxedo Jazz Band. night, the Spotted Cat buzzes with activity.

60 DOWNBEAT FEBRUARY 2018 Meschiya Lake & The Little Big Horns and The 1980s. Much of the week is reserved for club- New Orleans Cottonmouth Kings have both music fare, but jazz still has a presence at this played extensively at the club. Memphis institution. Three Muses The Jazz Cave 536 Frenchmen St. 1319 Adams St. New Orleans, LA Nashville, TN (504) 252-4801 (615) 242-5299 3musesnola.com nashvillejazz.org Chef Daniel Esses makes sure that the food The Jazz Cave is the performance arm of the at Three Muses is as good as the brass bands Nashville Jazz Workshop, which offers vocal and New Orleans jazz the club presents. and instrumental classes. The NJW hosts more than 40 shows a year, with top local and Tipitina’s visiting jazz artists swinging by the Jazz Cave, 501 Napoleon Ave. featuring an 80-seat listening room. New Orleans, LA (504) 895-8477 Rudy’s Jazz Room tipitinas.com 809 Gleaves St. The owners of Tipitina’s see music as one of Nashville, TN Louisiana’s greatest assets; to back up that (615) 988-2458 philosophy, they created a foundation that rudysjazzroom.com supports music education. The venue itself This new jazz club has quickly become a key is a city staple, providing local, regional and spot for jazz fans and musicians in Nashville. national artists with a place to play for an The club is named after the late saxophonist enthusiastic audience. The 2018 bookings Rudy Wooten. Every week, the Wooten include Maceo Parker (Feb. 9) and Dweezil Wednesday performance is assembled by Zappa (May 13). Regi Wooten. (His siblings Victor Wooten and Roy “Futureman” Wooten have been known to sit in.) Jeff Coffin has played the club, and MISSISSIPPI the Jason Marsalis Vibes Quartet is booked Ground Zero Blues Club for Jan. 9. 387 Delta Ave. Clarksdale, MS TEXAS (662) 621-9009 groundzerobluesclub.com Carmen’s De La Calle Live music happens at Ground Zero, 320 North Flores which is owned by Morgan Freeman, every San Antonio, TX Wednesday through Saturday. Befitting a (210) 281-4349 club that sits at the birthplace of Delta blues, carmensdelacalle.com blues is king at this club. Blues aficionados This Spanish restaurant hosts jazz nights on will want to check out the Delta Blues Thursdays. Friday is reserved for flamenco, Museum, located next door. with world music on Saturdays. NORTH CAROLINA Cezanne 4100 Montrose Blvd. Beyù Caffé Houston, TX 341 W. Main St. (832) 592-7464 Durham, NC cezannejazz.com (919) 683-1058 Jazz only happens at Cezanne on Friday beyucaffe.com and Saturday nights, but for a $10 cover, With an open mic on Wednesdays and listeners can hear the best regional and local Latin-flavored music on Thursdays, this jazz musicians around. club offers a wide swath of musical activity. Big-name acts occasionally drop by; in the past, the club hosted a presentation of Gerald Elephant Room Clayton’s Piedmont Blues. 315 Congress Ave. Austin, TX (512) 473-2279 SOUTH CAROLINA elephantroom.com THE JAZZ CORNER Gigs by the acts like John Fedchock Quartet, 1000 William Hilton Pkwy. Ephraim Owens and Red Young Quintet Hilton Head Island, SC are representative of the calendar at the (843) 842-8620 Elephant Room, a basement bar. Bookers are thejazzcorner.com dedicated to a wide variety of jazz and blues The Jazz Corner, open since 1999, provides acts. Admission is free on weekdays, and fans with the best regional jazz and national there’s a small cover charge on the weekend. acts. Jazz artists throughout the Southeast journey to the club for gigs; Atlanta musicians SCAT JAZZ LOUNGE are featured prominently each month. 111 W. 4th St. Fort Worth, TX TENNESSEE (817) 870-9100 scatjazzlounge.com Alfred’s on Beale Promising “a vibe that only exists in our 197 Beale St. dreams or maybe in the movies,” this club Memphis, TN is located in the basement of the historic (901) 525-3711 Woolworth building. It presents music six alfredsonbeale.com nights a week, mostly booking local and Alfred’s has been on Beale Street for more regional musicians, but national acts do drop than 30 years, setting up shop in the mid in from time to time.

FEBRUARY 2018 DOWNBEAT 61 blocks north of downtown. In 2008 it opened at its current address, 806 S. Plymouth Court, in a side building of the old Dearborn Street railroad station. Wayne Segal,

MICHAEL JACKSON who been spent the previous decade booking a Showcase offshoot called Joe’s Café at tour- ist destination Navy Pier, designed the new place. “I wanted it to look like the only home we ever had,” he says of the 170-capacity club. He accomplished that with soft lighting, seating at small tables and strategically placed, cushioned sofas, a horseshoe bar and tall cocktail tables in the rear. Hanging on plush red curtains over a broad stage with a Steinway grand piano is a huge photo of Parker, who looks like he’s eval- uating what’s happening. Other decorative ele- ments include an equally large portrait of Duke Ellington on a side wall, as well as images of , Miles Davis, Sonny Rollins, Thelonious Monk, , Johnny Griffin, Art Blakey—all of whom played the Showcase—and Showcase posters from past decades. Cutout caricatures of musicians line the foyer, readying attendees who pay a $20 cover or use student and Jazz Institute of Chicago mem- ber discounts to have a good time. “When they walk up to the music room entrance,” Wayne said proudly, “and see all the history and the music starts, it’s magical. The place has a good vibe.” Musicians think so, too. “I always look for- ward to singing at the Showcase,” affirmed vocalist Dee Alexander, whose quartet with pianist Miguel de Cerna, bassist Junius Paul and drummer Ernie Andrews played a week in December. “One of the reasons is what it stands Melissa Aldana onstage at the Jazz Showcase in Chicago for, as a pivotal place in Chicago music, histori- cally. So many great artists have come through it—whenever was there, I’d be sit- ting in the front row.” Since opening at Plymouth Court, Joe and Wayne Segal have worked closely together on bookings. Wayne estimated the ratio of nation- THE CIRCULAR LOGO OF THE JAZZ nights a week, including Sunday matinees. ally touring acts to local groups is 70 to 30. Multi- Showcase reads, “Where Jazz Lives in Chicago,” The venue has long been renowned locally instrumentalist , one of the few stars with “Since 1947” added under an illustra- and internationally as a shrine, haven and labo- of Joe Segal’s generation remaining active, vis- tion of a trumpeter and saxophonist wailing ratory for serious music. Over the course of seven its from his Florida home every August to head- against the city’s skyline. This medallion tells decades, there have been changes, of course, line the Showcase’s Charlie Parker Month, while the story: Touring stars and local artists alike including a higher profile for Wayne Segal, Joe’s recent younger attractions have included Robert have been presented under the Jazz Showcase son, as manager of the club. Glasper, Catherine Russell, Joey DeFrancesco banner for 70 years, since founder Joe Segal put “Joe is the Jazz Showcase, but I’ve always and Jon Irabagon, with Roy Hargrove coming for on shows featuring then-emerging players— been in the background, keeping things run- New Year’s. Chicago artists who frequently per- Charlie Parker among them—as a student at ning,” said Wayne, who is in his early 60s. “When form there include keyboardists Robert Irving Chicago’s Roosevelt College. I started [circa 1970], I was driving around III and Dave Gordon, drummers Xavier Breaker At age 91, Segal—who was honored as a 2015 town putting up posters, which was frustrating and Dana Hall, saxophonists Pat Mallinger and National Endowment of the Arts Jazz Master because someone would follow behind me slap- Juli Wood, trumpeters Corey Wilkes and Victor and is the author of a recently published autobi- ping up their posters over ours.” Garcia, and guitarists George Freeman and ographical scrapbook titled Stay On It! (Chicago In those days, the elder Segal presided over Mike Allemana. Jazz Publishing)—can still be found sitting at his Showcase in a basement of the Happy “I have a million things to do for the club the entrance of his club, poking his head inside Medium theater on the Rush Street entertain- from the moment I wake ’til we close after our to listen, sometimes announcing the acts and ment strip. Earlier Showcase productions were 10 p.m. show,” Wayne Segal said. “But that’s OK. urging customers to return soon. Bebop and held in others’ clubs and rented spaces; later I like the music, I’ve learned a lot about the busi- hard-bop, his favorite jazz styles, are often pre- the Showcase had lengthy runs in a ballroom of ness and it’s such a great joy to be able to work sented at the Showcase, which offers music seven the Blackstone Hotel and a spot of its own a few with my father.” —Howard Mandel

62 DOWNBEAT FEBRUARY 2018 MIDWEST MICHAEL JACKSON

Drummer Dana Hall performs at the Green Mill in Chicago. ILLINOIS Dave Rempis is the president of the board. Its space in the Avondale/Logan Square ANDY’S JAZZ CLUB neighborhood has presented jazz musicians 11 E. Hubbard St. such as Rempis, Joe McPhee and Tim Stine. Chicago, IL (312) 642-6805 The Green Mill andysjazzclub.com 4802 N. Broadway Ave. Since 1977, local, regional and nationally Chicago, IL known jazz musicians have played at Andy’s. (773) 878-5552 Pharez Whitted will lead the jam session every greenmilljazz.com Sunday night in January and February. This famed Chicago jazz spot programs the top-notch local and touring musicians. Jazz is B.L.U.E.S. featured every night of the week, and artists 2519 N. Halsted St. run the jazz gamut. The Fat Babies has a Chicago, IL standing gig on Tuesdays. Recent performers (773) 528-1012 have included Matt Ulery and Matt Wilson. chicagobluesbar.com Bues fans at this club can hear artists like The Iron Post Vance “Guitar” Kelly and Claudette Miller. 120 S. Race St. Wednesday is the night for blues jams. Urbana, IL (217) 337-7678 Buddy Guy’s Legends facebook.com/theironpost 700 S. Wabash Ave. The Jeff Helgesen Quintet plays at this bar Chicago, IL and grill once a month on Fridays, and the (312) 427-1190 University of Illinois jazz bands make the Iron buddyguy.com Post a frequent performance spot. Bluesman Buddy Guy will play 16 shows in January 2018 at his namesake club, with Jazz Showcase opening acts such as Bobby Rush, Eric Gales 806 S. Plymouth Ct. and Toronzo Cannon. The rest of the year, Chicago, IL emerging and national blues grace the stage. (312) 360-0234 jazzshowcase.com Constellation Russell Malone, Roberta Gambarini, Donald 3111 N. Western Ave. Harrison and Carmen Lundy are just some Chicago, IL of the headliners who have performed at the (312) 555-5555 Jazz Showcase recently. Joe Segal, who constellation-chicago.com founded the club, was the recipient of the Started in 2013 by drummer Mike Reed, 2015 A.B. Spellman NEA Jazz Masters Award Constellation is a space dedicated to for Jazz Advocacy. Trumpeter Roy Hargrove progressive and contemporary music, and his quintet will play an extended presenting jazz, classical and avant-garde residency from Dec. 26 to Jan. 7. works. Upcoming shows include Tom Rainey’s trio with Ingrid Laubrock and Mary Kingston Mines Halvorson (Jan. 27), Thurston Moore (Feb. 10) 2548 N. Halsted St. and Tigran Hamasyan (Feb. 28). Chicago, IL (773) 477-4646 Elastic Arts kingstonmines.com 3429 W. Diversey Ave., #208 Since 1968, scores of blues musicians have Chicago, IL graced the Kingston Mines stage. The blues [email protected] jam with Linsey Alexander happens on Elastic Arts is a non-profit organization that Sunday nights. Performers in January will develops and hosts concerts, exhibitions include Corey Dennison and Shawn Holt & and multi-arts performances. Jazz musician The Teardrops.

FEBRUARY 2018 DOWNBEAT 63 SPACE Cliff Bell’s 1245 Chicago Ave. 2030 Park Ave. Evanston, IL , MI (847) 492-8860 (313) 961-2543 evanstonspace.com cliffbells.com SPACE brings a wide variety of world-class This club has spotlighs local and regional jazz music to Evanston, located just north of musicians, and the occasional internationally Chicago. Upcoming shows include Stacey known artist, such as James Carter. Kent (Feb. 10), the Charlie Hunter Trio (March 21) and the Billy Cobham Band Dirty Dog Jazz Cafe (March 29). 97 Kercheval Ave. Gross Pointe, MI 210 Restaurant & Live Music (313) 882-5299 Lounge dirtydogjazz.com 210 Green Bay Rd. Patrons flock to the Dirty Dog for jazz in an Highwood, IL old English pub atmosphere. This charming (847) 433-0304 venue hosts local, regional and international 210restaurant.com jazz artists. Past performers include Wayne This restaurant, located in the Chicago Shorter, Cécile McLorin Salvant, Pat Martino, suburb of Highwood, presents jazz, blues and Cyrille Aimée, Stanley Jordan, Tia Fuller and other styles of music Wednesday through Sean Jones. The Charles Boles Quartet plays Sunday. On Feb. 1, The Bad Plus will perform. a dinner performance on Tuesdays. Winter’s Jazz Club Jazz Café at Music Hall 465 N. McClurg Ct. 350 Madison St. Chicago, IL Detroit, MI (312) 344-1270 (313) 887-8500 wintersjazzclub.com jazzcafedetroit.com Winter’s presents jazz six nights a week. The The Jazz Café at Music Hall features a range venue seats about 150, so jazz listeners are of music. In November, MundoMetal, a jazz- in intimate surroundings to see musicians like rock group, shared the calendar with a poetry the Dana Hall Trio. session and the Dave McMurray Trio. The jazz jam session, presented in cooperation with the Metro-Detroit Jazz Workshop, INDIANA happens on Mondays. Chatterbox Jazz Club 435 Massachusetts Ave. Kerrytown Concert House Indianapolis, IN 415 N. 4th Ave. (317) 636-0584 Ann Arbor, MI chatterboxjazz.com (734) 769-2999 In addition to booking shows, the venue kerrytownconcerthouse.com also offers jazz hopefuls scholarship money This concert venue is a literal house that’s to the Jacobs School of Music at Indiana been transformed into a 110-seat space to University via the Dick Dickinson Jazz spotlight a wide range of music. Home to the Scholarship. renowned Edgefest jazz festival, the venue also presents classical and folk music. THE JAZZ KITCHEN 5377 N. College Ave. MINNESOTA Indianapolis, IN CROONERS LOUNGE & SUPPER CLUB (317) 253-4900 6161 Highway 65 NE thejazzkitchen.com Minneapolis, MN The Jazz Kitchen hosts a free jam session (763) 760-0062 on Mondays and a variety of jazz-leaning croonersloungemn.com music throughout the week. Upcoming shows include The Bad Plus (Jan. 26) and Jason Crooners celebrates and pays homage to Marsalis (Jan. 28). the era when Sinatra ruled the airwaves, America’s best restaurants served “Continental Cuisine” and patrons dressed MICHIGAN up when dining out. The venue has received Baker’s Keyboard Lounge accolades from Fodor’s Travel, Trip Advisor, and OpenTable. Local artists perform nightly, 20510 Livernois Ave. including nationally recognized acts such as Detroit, MI Davina & The Vagabonds. (313) 345-6300 theofficialbakerskeyboardlounge.com Dakota Jazz Club This 99-seat club with a piano-shaped bar 1010 Nicollet Avenue presents jazz and other genres of music. Minneapolis, MN 55403 (612) 332-5299 Bert’s Market Place dakotacooks.com 2727 Russell St. Where does a concert by The Bad Plus share Detroit, MI calendar space with Leo Kottke, the Rebirth (313) 567-2030 Brass Band and ? The bertsentertainmentcomplex.com 33-year-old Dakota Jazz Club, which books a This club hosts jazz Wednesday through variety of genres. The club can pack in about Friday, with blues taking over on the 350 fans. Upcoming shows include Sergio weekend. Located in Detroit’s Eastern Mendes (Feb. 23), Donny McCaslin (Feb. Market District, Bert’s is billed as a soul food 28), Delfeayo Marsalis (March 1) and Cécile restaurant/cocktail lounge/theater. McLorin Salvant (March 7).

64 DOWNBEAT FEBRUARY 2018 Jazz Central Studios , Jane Monheit and Freddy Nighttown 407 Central Ave. SE Cole. Most artists perform for extended stays. 12387 Cedar Rd. Minneapolis, MN Cleveland, OH (612) 520-1066 Murry’s (216) 795-0550 jazzcentralstudios.org 3107 Green Meadows Way nighttowncleveland.com On Sundays, this nonprofit venue hosts a $5 Columbia, MO For more than 50 years, the bookish Nighttown jam session with Cole Mahlum; the following (573) 442-4969 (it’s named for the red-light district in James day, the weekly jam session is chaired by that murrysrestaurant.net Joyce’s Ulysses), has presented jazz, rock and night’s featured guest. The venue also books The owners of Murry’s tout their eclectic world music in surroundings modeled after turn- regional and local talent, including the Twin menu and “little regard for protocol,” saying of-the-century New York pubs. Performers have Cities Latin Jazz Orchestra. this 30-year-old venue has become a jazz included the Ernie Krivda Fat Tuesday Big Band and food institution. Solo jazz piano reigns and the Sammy DeLeon Latin Jazz Sextet. on Monday through Thursday starting at 7 p.m. Trios and small ensembles take over The Blue Room on Saturdays. The “We Always Swing” jazz WISCONSIN 1616 E. 18th St. series brings in nationally known artists. The Jazz Estate Kansas City, MO Recent performers include 2423 N. Murray Ave. (816) 474-8463 and René Marie. The Billy Childs Quartet Milwaukee, WI plays on Jan. 28. club.americanjazzmuseum.org (414) 964-9923 Kansas City’s American Jazz Museum is jazzestate.com a jazz-lover’s dream. The museum’s jazz OHIO Hosting local and regional jazz and jazz-adjacent collections and educational outreach events BLU JAZZ+ music, the Jazz Estate has been operating since are underscored by its performance space, 47 E. Market St. 1977. It’s open seven days a week. The Bobby The Blue Room. The venue features free jam Akron, OH Broom Trio visited in December. sessions on Mondays. (330) 252-1190 blujazzakron.com Jazz Gallery Center for the Arts Ferring Jazz Bistro BLU Jazz+, which is open Wednesday 926 E. Center St. The Harold & Dorothy Steward Center for Jazz through Saturday, is a combination photo Milwaukee, WI 3536 Washington Avenue gallery/jazz spot that mainly features local (414) 374-4722 St. Louis, MO and regional musicians. The BLU Jazz+ riverwestart.org (314) 571-6000 Masterclass Foundation is committed to The goal of the Riverwest Artists Association, jazzstl.org jazz education endeavors. Nationally known which runs this venue, is to “foster reflective, Tucked in the Harold & Dorothy Steward Center artists are booked at the club, too, with past innovative, and proactive art to enrich and for Jazz, this 200-seat venue hosts the cream of performances by JD Allen, Fred Hersch, Chris stimulate our community.” The organization the jazz crop. While the center is a home base Potter and Terell Stafford. Upcoming shows presents local musicians and other events in for educational and community engagement including Huntertones (Jan. 21) and Becca an art-gallery setting. Jazz jam sessions occur programs, the bistro spotlights artists like Stevens (Jan. 26). on Tuesdays.

FEBRUARY 2018 DOWNBEAT 65 WEST

everyone from Oakland School for the Arts students to touring musicians. YOSHI’S OAKLAND 510 Embarcadero West

DYNAMITE SOCIETY Oakland, CA (510) 238-9200 yoshis.com COURTESY BACH DANCING & A second location, which was in San Francisco, is no longer in business, but the original Yoshi’s has been presenting world-class jazz in Oakland area since the 1970s. Listeners know Yoshi’s is the spot for Japanese cuisine matched with the best touring musicians on the scene today. There’s live music every night. Upcoming shows Billy Hart (right) performs in a quartet at Bach Dancing & Dynamite Society in Half Moon Bay, California. include Poncho Sanchez (Jan. 26–27) and Stanley Jordan (Feb. 16).

ARIZONA “Greenwich Village jazz club experience” with SOUTHERN CALIFORNIA “wine country ambiance.” And it all happens Elliott’s On Congress on the first floor of the 1800s Napa Valley The Baked Potato 135 E. Congress St. Opera House. The programming includes 3787 Cahuenga Blvd. Tucson, AZ jazz, rock and other genres. Upcoming shows Studio City, CA (520) 622-5500 include Brian Culbertson (Dec. 29–31), Spoon (818) 980-1615 elliottsoncongress.com (Jan. 15) and Lee Ritenour (Feb. 16–17). thebakedpotato.com On Tuesday nights, blues fans in Tucson Open nightly for jazz, this venue has been can head to Elliott’s to hear Tommy Tucker. KUUMBWA JAZZ CENTER presenting local and national music for nearly 320 Cedar St. 50 years. Upcoming shows include Jeff The Nash Santa Cruz, CA Lorber Fusion (Jan. 12–13), Vivino Brothers 110 E. Roosevelt St. (831) 427-2227 (Jan. 17) and Brian Charette (Jan. 31). Phoenix, AZ kuumbwajazz.org (602) 795-0464 More than 40 years ago, organizers Blue Whale 123 Astronaut E. S. Onizuka Street #301 thenash.org founded the 200-seat Kuumba Jazz venue This downtown venue is owned by Jazz to bring touring jazz acts and educational Los Angeles, CA in Arizona, a nonprofit organization. The programming to the area. The center also (213) 620-0908 Nash hosts a mix of touring acts and local runs a jazz summer camp, brings artists bluewhalemusic.com players, with a dedication to nurturing student to area schools and hosts a scholarship While listeners hear live jazz from a variety of musicians. Jam sessions happen on Sundays. program. Upcoming shows include Jason performers, they can also scope out art in the Marsalis (Jan. 22), Katie Thiroux (Jan. 29) and adjoining gallery. Steve Coleman, Jen Shyu, Pastiche Julian Lage (Feb. 19). Nicole Mitchell and Anthony Wilson all played 3025 N. Campbell Ave. the Blue Whale recently. Tucson, AZ Savanna Jazz (520) 325-3333 1189 Laurel St. Catalina Bar & Grill 6725 W. Sunset Blvd. pasticheme.com San Carlos, CA Weekends are given over to jazz at this (415) 624-4549 Los Angeles, CA restaurant, which is located right down the savannajazz.com (323) 466-2210 street from the University of Arizona campus. This venue books artists and runs the catalinajazzclub.com Savanna Jazz Agency. There’s a sports bar This is a supper club with “old-world charm” in the front of the establishment, and there’s that is dedicated to presenting a who’s who jazz room in the back. Guitarist/vocalist of jazz musicians. Catalina books acts like NORTHERN CALIFORNIA Pascal Bokar frequently hits the stage. Adam Ben Ezra, Lizz Wright and Gordon BACH DANCING & DYNAMITE Goodwin’s Big Phat Band. SOCIETY Sequoia Room 311 Miranda Road 444 N. Main St. LOBERO THEATRE Half Moon Bay, CA Fort Bragg, CA 33. E Canon Perdido St. (650) 726-4143 (707) 964-3400 Santa Barbara, CA bachddsoc.org northcoastbrewing.com/calendar (805) 963-0761 This prized jazz haunt presents jazz, world On Friday and Saturday nights, jazz takes lobero.com music and classical performances on Sunday over in the North Coast Brewing Company’s The Lobero Theatre, which is closing in on its afternoons. As a nonprofit, the Bach Dancing Sequoia Room. Owners book a range of local, 150th birthday, has a rich musical past. In & Dynamite Society has spent more than half a regional and national talent. The Edward the middle of last century, the venue began century hosting shows by artists such as Lew Simon Trio is booked for Jan. 13. showcasing jazz. These days, bookings run Tabackin and Jeremy Pelt at the picturesque the musical gamut. The jazz series includes Douglas Beach House. The Sound Room artists like Charles Lloyd and Arturo Sandoval. 2147 Broadway Blue Note Napa Oakland, CA Upstairs at Vitello’s 1030 Main St. (510) 496-4180 4349 Tujunga Ave. Napa, CA soundroom.org Studio City, CA (707) 880-2300 The Sound Room is the concert arm of the (818) 769-0905 bluenotenapa.com Bay Area Jazz and Arts organization. In vitellosjazz.com Blue Note Napa bills itself as a mix of the the performance space, owners welcome A club above a famed Italian restaurant,

66 DOWNBEAT FEBRUARY 2018 the venue hosts a variety of acts—music, the void created by the closing of the venue comedy, and everything in between. At Jimmy Mak’s. Upcoming shows include Upstairs at Vitello’s, listeners will find a blend Jason Marsalis (Jan. 18) and bluesman of local and regional pop-leaning bands, but Tinsley Ellis (Feb. 23). jazz musicians also stop by. Jo Bar & Rotisserie Vibrato Grill Jazz 715 NW 23rd Ave. 2930 N. Beverly Glen Circle Portland, OR Los Angeles, CA (503) 222-0048 (310) 474-9400 jobarpdx.net vibratogrilljazz.com Presenting diners with “wood-oven-fired and Conceived by trumpeter Herb Alpert and with spit-roasted fare,” Jo Bar also usually books a dress code of “L.A. smart casual,” this spot jazz on Wednesday and Friday evenings and presents jazz, classic rock and pop. Much on the weekends. of the calendar, which is full of music every week, is reserved for local and regional acts. Wilfs Restaurant & Bar 800 NW 6th Ave. COLORADO Portland, OR Dazzle Jazz (503) 223-0070 1512 Curtis St. wilfsrestaurant.com Primarily booking jazz on Wednesday through Denver, CO Saturday nights, the occasional regional (303) 839-5100 or local act will perform on Mondays or dazzlejazz.com Tuesdays. The bookings include jazz as well Although Dazzle Jazz moved to its new as classical-crossover music. location in May 2017, the club has been a Denver staple for two decades. With the move, owners recently added a small retail WASHINGTON section for jazz record sales. Tuesday nights Dimitriou’s Jazz Alley are reserved for jam sessions, with jazz 2033 Sixth Ave. brunch sessions on the weekends. Upcoming Seattle, WA shows include Nate Birkey (Dec. 30), Diane (206) 441-9729 Schuur (Jan. 16–17) and Billy Childs (Jan. 25). jazzalley.com Founded more than 30 years ago, Dimitriou’s El Chapultepec has become the nexus for jazz in the 1962 Market St. city, hosting the biggest musicians when Denver, CO they come through town. Roy Hargrove (303) 295-9126 and Russell Malone are familiar faces at thepeclodo.com Dimitriou’s. Upcoming shows include the Visitors to Denver in the mid-1930s would Trio (Feb. 1–4), (Feb. have seen El Chapultepec sitting on the same 13–15), Joey Alexander (Feb. 22–25) and Dr. corner on Market Street. The venue is the Lonnie Smith (Feb. 27–28). oldest jazz and blues club in Denver, and it offers Mexican food. Mondays are reserved Egan’s Ballard Jam House for an open jazz jam. 1707 NW Market St. Seattle, WA Nocturne (206) 789-1621 1330 27th St. ballardjamhouse.com Denver, CO By day, Egan’s serves as an all-ages (303) 295-3333 rehearsal and workshop space. At night, local nocturnejazz.com and regional talent performs and holds jam Jazz comes to Nocturne five nights each sessions. When there is an entrance fee, it’s week. The club books artists for eight-week usually $10. Occasionally, touring acts will runs so the musicians can focus “on the command a higher cover and a minimum. exploration of a musical icon, the study of a particular era or genre of jazz, or their own The Royal Room original works.” 5000 Rainier Ave S Seattle, WA NEW MEXICO (206) 906-9920 theroyalroomseattle.com Outpost When local jazz players perform at the Royal 210 Yale Blvd. SE Room, there’s never a cover; the musicians Albuquerque, NM “are compensated by your donations.” (505) 268-0044 Bookers bring a variety of music to the outpostspace.org Royal Room, presenting all-ages shows This venue presents more than 100 shows next to events like the Jazz Night School, an each year. In addition to booking a wide educational set of shows and master classes. variety of acts, Outpost Productions, which is a nonprofit, hosts educational programs. Tula’s 2214 Second Ave. OREGON Seattle, WA (206) 443-4221 The Jack London Revue tulas.com 529 SW 4th Ave. Tula’s books regional and national jazz talent Portland, OR each night of the week. As one of the venues (866) 777-8932 for the annual Earshot Jazz Festival, the jacklondonrevue.com dinner spot/listening room has become an This intimate performance space helps fill integral part of the busy Seattle jazz scene.

FEBRUARY 2018 DOWNBEAT 67 Sun of Goldfinger bandmates David Torn (left), Ches Smith and was formerly known as the “Fledermaus Bar,” dat- Tim Berne perform at the jazz club Porgy & Bess in Vienna, Austria. ing back to Johann Strauss II’s operetta classic. At the time, the notion and gumption of bringing international jazz musicians through Vienna was a unique enterprise, apart from Jazzland’s efforts

ECKHART DERSCHMIDT in that direction. The current location of Porgy & Bess, as of 2000, involves rooms dating back to mid-19th century theater groups. “Porgy & Bess is my favorite club in Europe,” said reedist Dave Liebman, one notable American musician who has played the venue many times. “The reasons are simple, but not so easily attainable, unless there is a care and con- cern that things are done correctly. Porgy is run like a business with excellent backline equip- ment, a great piano and even good food. The Vienna audience is one of the most sophisticated in the world. Do you think it is because Vienna was the center of Western music for years?” Liebman added that, as a passionate founder and emotionally invested owner, Huber “takes care of business and respects the musicians and Jazz Thrives in Vienna the music. You really get a true feeling of inter- IN TERMS OF MUSIC HISTORY, IT IS IMPOS- At the inception of Jazzland, Melhardt said, est in what you are playing. The Porgy schedule sible to understate the importance of Vienna. “I was mainly into traditional jazz but with at reflects our present period of musical eclecticism Its storied history includes the groundbreak- least a small inclination toward Charlie Parker, with featured projects from all over the world.” ing work of Haydn in the late 18th century; Dizzy, Adderley and early Coltrane—they were Liebman has played with many Viennese Beethoven, Mozart and Schubert in the early the avant-garde in those days. [Musicians] tried musicians over the years, including a decades- 19th century; the populist superstars of the to find a new place to perform and they looked deep relationship with drummer Wolfgang Johann Strauss clan (Jr. and Sr.), waltz-royalty for someone who would be able to bring old and Reisinger. He said that “the level of musicianship in the late 19th century; Mahler in the roman- new jazz together, and they found me.” Early is beyond the norm, and again, with such a rich tic-cum-modern era; and the revolutionary bookings included and Albert tradition and concerts all over Vienna, seeming- “Second Viennese” school of 12-tone architect Nicholas. ly on a daily level, it couldn’t but be that way in Arnold Schönberg and protégés Alban Berg and As Melhardt admitted, “Since my personal this historical cultural center.” Anton Webern in the 20th century. taste begins with country blues and ends with Porgy & Bess, which celebrates its 25th anni- Lesser known is the city’s vitality as a center Coltrane’s Blue Trane, the program of Jazzland versary in 2018, also gains traction and network- of jazz activity and support systems. Within the is more ’20s to ’50s than recent styles.” He recog- ing power through working closely with a circuit past half century, two primary jazz clubs—the nized that, across town, Porgy & Bess is “a very of other major clubs in Europe, through its con- city’s oldest continuous venue, the more tradi- good avant-garde club.” nection with the European Jazz Network (EJN). A tional-oriented Jazzland (founded in 1972) and As a recent example of the avant-garde com- “member card” system, launched in 1994, enables the world-renowned, programmatically adven- ponent of Porgy’s program, last November’s holders to gain access to other clubs, such as the turous Porgy & Bess (established 1993)—have calendar featured John Zorn, whose appear- Jazzhouse in Copenhagen, Denmark; Stadtgarten been significant club hubs, featuring musicians ances there included a marathon of his epic in Cologne, Germany; Bimhuis in Amsterdam, from the States, Europe and elsewhere, while “Bagatelles” project in 2016. the Netherlands; Moods in Zurich, Switzerland; numerous other clubs, such as the Blue Tomato, As Huber noted, the 400-capacity club is and Unterfahrt in Munich, Germany. keep the scene buzzing. Meanwhile, the Vienna “officially called ‘Jazz & Music,’ [which] means One of the city’s most celebrated artists—the Jazz Festival is a draw for artists and fans from that jazz is in the center, but there are also a lot late Joe Zawinul (of Weather Report fame)—got around the world. of concerts in the category ‘& Music,’ which into the Vienna jazz club scene late in life with Jazzland’s founding director, Axel Melhardt, can be electronic, contemporary serious music, his venue Birdland (2004–2008), named after his noted that in Vienna, “the jazz audience is better singer/songwriter, etc. We program traditional famed tune and running until shortly after his than ever. Besides the Porgy and Jazzland, there Americans, [such as] Benny Golson, Ron Carter death. As Huber said, “For me, it was very import- are about eight to 10 other venues with jazz and and Houston Person, avant-garde veterans like ant that he play Porgy & Bess before opening surrounding types of music.” Cecil Taylor, Archie Shepp or Pharoah Sanders, Birdland, which he did in 2003—three nights— But the jazz-club pulse here was not always straightahead players like Joshua Redman and after nearly 50 years after playing with [Austrian thus. As Melhardt explained, when Jazzland or modern players like Steve pianist] Friedrich Gulda. opened its doors in ’72, the jazz club options were Lehman and Rudresh Mahanthappa.” “In the opening week of Birdland, we had limited, with the Storyville Club offering trad jazz A few layers of Viennese history are Pharoah Sanders scheduled at P&B. After the and early swing, after the closure of other venues. entrenched in Porgy & Bess’ history. Its origin Sanders concert, we went with him to Birdland, Porgy & Bess co-founder Christoph Huber story, starting in 1993, goes back to when the where he joined Joey DeFrancesco. That was our commented that “of course, Vienna is associat- famously multi-tasking Swiss-turned-Viennese gesture. Vice versa, Zawinul showed up at P&B ed with Mozart, Beethoven, Mahler, Schönberg, musician Mathias Rüegg, the mastermind and regularly when he was in town. He was a great etc., but we also had a saxophone titan named leader of the venturesome big band known as the musician and a great human being.” Hans Koller.” Vienna Art Orchestra, launched the venue in what —Josef Woodard

68 DOWNBEAT FEBRUARY 2018 INTERNATIONAL

nights a week. Touring acts from the United States, like Lew Tabackin and Scott Hamilton, play extended residencies when in town. PORGY & BESS Riemergasse 11 Vienna 43 1 512 88 11 COURTESY NARDIS JAZZ CLUB porgy.at Celebrating its 25th birthday in 2018, Porgy & Bess books international jazz stars touring through Austria. Upcoming shows include Marc Ribot (Jan. 26), Dave Liebman (Jan. 27), David Murray (Feb. 10), Tim Berne (Feb. 12) and Chris Potter (March 1). Nardis Jazz Club in Istanbul, STOCKWERK JAZZ ARGENTINA The Sound Lounge Jakominiplatz 18 Notorious City Road and Cleveland St. Graz Av. Callao 966 Chippendale, New South Wales 43 316 821433 Buenos Aires 61 2 9351 7940 stockwerkjazz.mur.at 54 11 4813 6888 sima.org.au An inviting and intimate café serves as the Affiliated with the Sydney Improvised Music notorious.com.ar entrance to this upstairs club, which has been Association, this 120-seat lounge books jazz Programming music every night of the week, presenting jazz for more than two decades. acts on Fridays and Saturdays. this venue also offers listeners a record store Upcoming shows include The Kandinsky in the front, and a café in the back. Effect (March 9), JD Allen Trio (March 14) and VENUE 505 Canada Day Quartet (March 22). Thelonious Club 280 Cleveland St. Surry Hills, New South Wales Treibhaus Jerónimo Salguero 1884 04 19 294 755 Buenos Aires Angerzellgasse 8 54 11 4829 1562 venue505.com Innsbruck Started in 2004, Venue 505 (in the Sydney thelonious.com.ar 43 512 572000 area) is part of a performing arts one-two treibhaus.at Founded in 2000 by two jazz lovers inspired punch: While Venue 505 is dedicated to This club is actually a functioning by the feel of New York nightclubs, this venue promoting jazz and other music six nights a greenhouse, so the moniker Treibhaus, presents music four nights a week. week, its sister venue, the Old 505 Theatre, which is German for greenhouse, is more presents theater productions. On Jan. 26–27, than just a clever name. The performance the venue presents Bandaluzia Flamenco with AUSTRALIA features jazz and other genres. Bennetts Lane Paco Lara & Chachy Peñalver. 25 Bennetts Lane BRAZIL Melbourne, Victoria AUSTRIA 61 412 063 570 Blue Tomato Blue Note Rio facebook.com/bennettslane Wurmsergasse 21 Av. Borges de Medeiros, 1424, Lagoa Bennetts Lane continues to adapt to Vienna Rio de Janeiro changing circumstances. After a temporary 43 1 985 5960 55 21 3577 4477 closure in 2015, ownership has changed bluetomato.cc bluenoterio.com.br hands, and the club is primed for a In 2017, Blue Tomato celebrated its 35th year The Blue Note Rio is part of an extended resurgence. The owners are slated to open in business—a lengthy run for a jazz club. It network of Blue Note clubs, which are also a new space at the Grand Hyatt complex on has showcased a jazz, classical and other located in New York; Napa, California; Flinders Lane. genres. The duo of Joe McPhee and Paal Honolulu, Hawaii; Milan; Beijing; Tokyo; Nilssen-Love performed there recently. and Nagoya, Japan. Upcoming shows at Elixir Tapas Bar the Blue Note Rio include Eliane Elias (Jan. 92 Abbott Street 12–13), Joyne Moreno (Feb. 1) and Eumir Jazzit Deodato (April 6–7). Cairns, Queensland Elisabethstraße 11 61 406 534 996 Salzburg facebook.com/ElixirBarCairns 43 662 883264 Bourbon Street Music Club This location, which was formerly was Pop Rua dos Chanés, 127 – Moema jazzit.at São Paulo & Co, presents music Wednesdays through Jazzit has presented avant-garde jazz in Sundays. Two Fridays a month are reserved Salzburg for more than four decades. Today 55 11 5095 6100 for a local jazz trio, while the Sunday shows the promoters book local, national and bourbonstreet.com.br spotlight blues artists. international groups like the Benjamin Schmid The aim of this club is to bring the food, spirit Jazz Quintet and the Jazzit Trio. and sounds of New Orleans to Brazil. Besides Foundry616 jazz, the club also books pop and rock acts. 616 Harris Street Jazzland Ultimo/Sydney Franz Josefs-Kai 29 The Maze 02 9211 9442 Vienna Rua Tavares Bastos 414/66 foundry616.com.au 43 1 533 2575 Catete Founded in 2013, Foundry616 is a relative jazzland.at Rio de Janeiro newcomer to the scene, but it’s made quite As a venue entering its 46th year of operation, 55 21 2558 5547 a splash already. Michael Griffin’s Thelonious Jazzland, which operates out of a 500-year- jazzrio.com Monk Octet and the Michael Gordon Bebop old cellar, holds the title as the oldest jazz Where else can music lovers get totally Band have played at Foudry616. club in Austria. Live music is presented six immersed in the music, sleeping and eating

FEBRUARY 2018 DOWNBEAT 69 RANDY COLE

There’s not a great distance between the patrons and musicians at Montreal venue Dièse Onze.

LISTENERS WHO WANT TO EXPERIENCE eight years ago. Impressed with the ambiance a great job making musicians feel at home,” jazz in Montreal would be well advised to check but disappointed by the service, he pointed out Bellegarde said. out the talent on tap at Dièse Onze. The intimate to the owner that “the manager had no smile,” Mentored by American-born bassist Skip venue has become a key part of the Montreal jazz and was soon hired to take over operations. Bey, Bellegarde had been leading jam sessions at scene. Established in 2006 at 4115-A St. Denis, When Tremblay took ownership of the club various Montreal establishments for well over a the semi-basement venue—whose French name in 2014, it was with the intention of transform- decade before taking the gig at Dièse Onze. “The translates to “sharp 11,” a musical reference with ing it into a jazz institution. “I was a little hesi- problem had always been finding venues that an especially hip connotation—presents two sets tant when I took over,” he recalled. “I had already had a good vibe, which I think is super import- of high-quality music every night. been working 80- to 100-hour weeks, and knew ant for a good jam,” he said. “It was a no-brainer The club’s proprietor, Gary Tremblay, makes there was a lot of work to be done. But I really dug for me to finally get to do it in a proper jazz club.” an effort to offer his clientele diverse pro- the vibe. I was involved in the local jazz scene, “The common thread of our clientele is that gramming. On Mondays, the club is heated and believed in it. So I decided to give it a go.” they are all real music lovers, whether they’re 18 up with Trabuco Habanero, featuring artists Seeing the club as a long-term project, he or 90,” Trembley noted. Starting in January, he from Montreal’s Latin jazz scene. Tuesdays are envisioned it as a venue with the highest stan- will begin a major renovation, moving the stage reserved for a weekly jam session led by bass- dards—both musical and culinary. “Every cent and raising the banquettes to enhance the audi- ist Alex Bellegarde, running late into the night. of profit since then has been re-invested into the ence’s experience. Wednesdays are Soul Therapy Night, hosted club,” Tremblay continued, noting Dièse Onze’s Dièse Onze partners with L’OFF Festival de by The Brooks collective. Thursdays feature a superior sound system, a new house , Jazz de Montréal, and this past October pre- monthly spotlight. Fridays and Saturdays show- a Kawai piano and a completely re-equipped sented multiple shows during the fest, includ- case mostly local, and some international, art- kitchen serving world-class cuisine. ing alto saxophonist Jason Stillman’s Quartet. ists. And Sundays are vocal jazz jam nights, host- The club’s weekly jam session has been led by The venue also hosts its own series as part of the ed by singer Kim Richardson. Bellegarde, a mainstay of Montreal’s jazz scene, Montreal Jazz Festival. During the 2016 edition Raised in Montreal, Tremblay grew up lis- for the past eight years. The evening traditional- of that massive fest, Dièse Onze drew an inter- tening to Jimmy Smith, Marvin Gaye and Miles ly begins with a set by Bellegarde’s trio with an national crowd for sets from a quintet co-led Davis. As a young man, he worked as a DJ and a invited guest—on the night of DownBeat’s visit, by trumpeter Ingrid Jensen and saxophonist clerk at a record store with a significant jazz sec- it was Bulgarian saxophonist Tihomir Krastev. Christine Jensen. tion. Later he studied computer-assisted sound That’s followed by an open jam that draws pro- “Montreal is a jazz city—always has been,” design and business management. He went on to fessional musicians (frequently including out-of- Tremblay said. “There used to be a late-night set, manage several establishments, covering book- towners), university students and devoted hob- running till 2 a.m. And I want to bring it back.” ing and sound, until walking into Dièse Onze byists with its welcoming vibe. “Gary has done —Sharonne Cohen

70 DOWNBEAT FEBRUARY 2018 at the same location where the music CHINA happens? This three-decades-old bed and breakfast is also an art gallery. Plus, the Fringe Club owner hosts a monthly jazz night. 2 Lower Albert Road, Central Hong Kong CANADA 852 2521 7251 hkfringeclub.com DIÈSE ONZE For nearly 35 years, the Fringe Club (a 4115-A St. Denis former dairy show) has been presenting a Montreal range of jazz and other music, as well as (514) 223-3543 performing arts events, in Hong Kong. dieseonze.com Dièse Onze, which celebrated its 10th COSTA RICA birthday in 2016, presents two shows a night, every day of the week. The schedule Jazz Cafe highlights the best local jazz musicians Carretera Interamericana mixed with international artists. Past San Pedro, Montes de Oca Canton featured artists have included Harold 506 2253 8933 Mabern and Ben Monder. The vocal jam jazzcafecostarica.com happens on Sundays, and Tuesdays are This 220-seat club is often filled with reserved for an instrumental jam session. tourists, locals and expats. The owners book jazz, pop, rock and comedy shows. Frankie’s Jazz 765 Beatty St. CZECH REPUBLIC Vancouver, British Columbia AghaRTA Jazz Centrum (604) 688-6368 Zelezna 16 frankiesitaliankitchen.ca Prague The Coastal Jazz and Blues Society books 420 222 211 275 acts at Frankie’s four nights a week. The agharta.cz Vancouver Legacy Jazz Orchestra has held A smooth-jazz ensemble, a vocal jazz trio, a Gerry Mulligan tribute night at this club. a modern ensemble and a straightahead group are representative of the diversity of L’Astral bookings at this Old Town club. The venue 305 Ste. Catherine St. W. also hosts Prague Jazz Festival shows. Montreal, Quebec (514) 288-8882 The Jazz Dock sallelastral.com Janackovo Nabrezi 2 Presenting more than , L’Astral has Prague focused on bringing quality live music to 420 774 058 838 Montreal since 2009. Artists who have played jazzdock.cz L’Astral include the Orchestre National de The Jazz Dock is an extremely literal place— Jazz, Sass Jordan, the Simon Denizart Trio this club is on the edge of the Vltava River, and Sleigh Bells. offering a beautiful backdrop to the music. Julian Lage and forward-leaning European The Rex Jazz & Blues Bar jazz musicians typify the club’s offerings. 194 Queen St. W. Toronto, Ontario Lucerna Music Bar (416) 598-2475 Vodi kova 36 therex.ca Prague This hotel/jazz venue, which has been in operation 420 224 224 537 since 1992, books local, national and international musicbar.cz acts on a nightly basis. Jazz ensembles from the The owners’ first inclination isn’t to book University of Toronto frequently take the stage. jazz, as this venue leans toward more rock and pop acts, but intrepid listeners can find Upstairs Jazz Bar & Grill improvised music at the venue. 1254 MacKay St. Montreal, Quebec DENMARK (514) 931-6808 upstairsjazz.com Copenhagen Jazzhouse This venue has been a vital part of the Niels Hemmingsens Gade 10 Montreal scene for more than two decades. Copenhagen The club showcases McGill University jazz 45 3315 4700 students twice a week, chairs two jam jazzhouse.dk sessions each week, and books local and Jazz trio The Necks, who performed at the international talent on the weekends. Jazzhouse recently, epitomize the club’s mission of “a place for experiments.” The venue hosts these jazz experiments a few 11 Tommy Banks Way times each month. Edmonton, Alberta (780) 432-0428 Jazzhus Montmartre yardbirdsuite.com St. Regnegade 19A Yarbird Suite has been helping shape Copenhagen Edmonton’s jazz scene since 1957, and 45 70 20 20 96 the venue has been in its current location jazzhusmontmartre.dk for three decades. Yardbird Suite, which Jazzhus has been bringing top-quality jazz hosts jam sessions each Tuesday and a to Copenhagen audiences since 1959. Canadian jazz festival in November, is the The venue served as the European base headquarters of the Edmonton Jazz Society. of operations for Dexter Gordon and Ben

FEBRUARY 2018 DOWNBEAT 71 Land.” Le Caveau sits in a building constructed in the 1500s, but the club itself has only been around since 1946. New Morning 7-9 Rue des Petites Écuries Paris

COURTESY JFC JAZZ CLUB 33 1 45 23 51 41 newmorning.com While it has presented jazz since its founding more than 30 years ago, the venue now hosts rock, funk and hip-hop acts. Jazz stars come here for short residencies. Le Piano Barge Allée Loïc Caradec, 56000 JFC Jazz Club in St. Petersburg, Russia Vannes 33 2 97 47 76 05 Webster. Nowadays, the club hosts a wide The Vortex pianobarge.com variety of music, but focuses on jazz. 11 Gillett Square Le Piano Barge allows jazz listeners to have London a fine dining experience on a permanently ENGLAND 44 20 7254 4097 docked boat overlooking the Marle River. vortexjazz.co.uk The venue presents funk acts and improv The 606 Club theater. 90 Lots Road This small, not-for-profit club has been a London London staple for more than 20 years. The 44 20 7352 5953 owners book contemporary jazz and hold a Sunset-Sunside jam session each Sunday. The London Jazz 60 Rue des Lombards 606club.co.uk Orchestra has a long-running residency Paris Opened in 1976 as a basement venue, the here. 606 Club moved above ground in the late 33 0 1 40 26 46 60 1980s to a space that has ample room for sunset-sunside.com listeners to catch 10 bands each week. The FINLAND Monday night jam sessions draw musicians venue rarely books visiting acts, choosing Rytmihäiriöklubi / Juttutupa to this venue, which has been open for instead to focus on the London scene. nearly 35 years. During the week, European Säästöpankinranta 6 and French jazz dominates, though Helsinki Cafe OTO international acts are occasionally booked at 358 20 7424240 this famous club. Enrico Rava is booked for 18–22 Ashwin St. juttutupa.com Jan. 18–19. Dalston The Juttutupa restaurant is the oldest of its London kind in Helsinki, and the owners claim its 44 20 7923 1231 legacy goes back to the 1880s. The 20-year- GERMANY cafeoto.co.uk old club inside presents jazz and blues, with A-Trane This venue is a café by day and a club an emphasis on young Finnish musicians. 1 Bleibtreustraße St. by night. Bookers highlight an array of Berlin avant-garde styles, include jazz, rock and Storyville 49 30 3132550 experimental music. Museigatan 8 a-trane.de Helsinki For more than 25 years, A-Trane has been Jazz Cafe 358 50 363 2664 presenting European and international jazz 5 Parkway storyville.fi artists. The venue also serves as one of the London A century ago, excess mixed with hot jazz main spots for Jazzfest Berlin. Upcoming 44 20 7485 6834 was the norm in New Orleans’ Storyville shows include Lionel Loueke & Céline thejazzcafelondon.com district, and this Helsinki spot aims to re- Rudolph (Jan. 16), the Fly Trio (Jan. 21) and Seven nights a week, the Jazz Cafe books create some of that festive vibe. Hosting Bernhard Meyer (Jan. 31). jazz, hip-hop, pop and blues artists. music four nights a week until 4 a.m., the venue books jazz, swing, blues and rock. Aufsturz PizzaExpress Jazz Club Oranienburger Straße 67 10 Dean St. FRANCE Berlin London 49 30 2804 74 07 44 20 7437 9595 Duc Des Lombards aufsturz.de pizzaexpress.com 42 Rue des Lombards Aufsturz opened its doors in 2004, hoping At this venue, jazz and pizza are a natural Paris to bring a heavy dose of jazz to the pairing. The actual club is nestled right below 1 4233 2288 community—along with a weekly swing PizzaExpress restaurant, and the music lineup ducdeslombards.fr dance party, complete with lessons. Aufsturz is anything but cheesy. The The Kenny Werner Trio, Mark Turner and boasts a 100-selection beer menu. The club Trio recently appeared at the club. Marquis Hill recently performed at this venue. also serves as a gallery space and a lecture When not booking international jazz talent, hall. Ronnie Scott’s Jazz Club the club fills its six-nights-a-week music 47 Frith St. calendar with jazz talent from throughout B-Flat London Europe. Dircksenstraße 40 44 20 7439 0747 Berlin ronniescotts.co.uk Le Caveau de la Huchette 49 30 2833 123 What the venerated Village Vanguard is to 5 Rue de la Huchette b-flat-berlin.de New York City, Ronnie Scott’s is to London. Paris Modern jazz, soul, r&b—this jazz-leaning Jazz, blues and jazz-leaning rock musicians 33 1 4326 6505 club has it all. Touring musicians and play every night of the week at this legendary caveaudelahuchette.fr local acts take the stage each night of the venue, which has been in operaion since Aiming for a Cotton Club vibe, the Le Caveau week, with Wednesdays reserved for jam 1959. Upcoming shows include the Brubeck de la Huchette features nightly jazz music sessions. Recent performers include the Brothers (Jan. 11–14), Kurt Rosenwinkel (Jan. that is perfect for dancing. Need proof? Eden Bareket Trio and the Heiko Fischer 15) and Django Bates (Jan. 30). The venue was featured in the film “La La Quartett.

72 DOWNBEAT FEBRUARY 2018 Jazz im Prinz Karl are jam sessions three nights a week and Gradmann Weg 7 classical music every Sunday. Tübingen 07 07 1376 01 ISRAEL jipk.net Beit Haamudim Fred Hersch and Chris Potter recently played Rambam 14 this venue, which has been presenting top- Tel Aviv notch jazz for more than 40 years. 972 3 510 9228 facebook.com/BeitHaamudim Jazzkeller The best Israeli jazz musicians play Betit Kleine Bockenheimer Str. 18a Haamudim every night of the week. Frankfurt Vegetarian fare is served in this small clib. 49 69 288537 jazzkeller.com Shablul Jazz It’s been more than six decades since Airport Hangar 13 trumpeter Carlo Bohländer founded Tel Aviv this basement space. Local artists and 972 3 546 1891 international acts are presented five nights a week. performed in shabluljazz.com December. Upcoming shows include the Blues, reggae, pop, jazz—it’s all presented Uta Dobberthien Quintet (Jan. 20), the at the Shablul, which has been active in the Jesse Davis Quartet (Jan. 23) and Juliana community for more than a decade. Jazz Da Silva (Jan. 25). is still prominent at the club, and it comes mostly via regional and European acts. Quasimodo Kantstraße 12A ITALY Berlin Alexanderplatz 49 30 318 045 60 Via Ostia, 9 quasimodo.de Rome Quasimodo may have started out as a jazz- 06 39 06 8377 5604 dominant spot five decades ago, but over alexanderplatzjazzclub.com the years, bookers started promoting a wider The oldest jazz club in Italy, Alexanderplatz range of acts. But Quasimodo remains one of has been presenting jazz to locals and the main Berlin jazz spots. tourists at its home near St. Peter’s Basilica for more than 30 years. Local and regional Stadtgarten jazz musicians are frequently featured. Venloer Straße 40 Köln Cantina Bentivoglio 49 0221 952994 0 Via Mascarella, 4/B stadtgarten.de Bologna Stadgarten encompasses both a concert 39 051 265416 hall and a smaller performance area. While cantinabentivoglio.it the primary focus is jazz, some of the shows This small jazz venue presents jazz nearly branch out into other genres. Among the stars every night. and the Smalls Club who’ve played Stadtgarten are Jimmy Heath, All Stars performed at the club during the Bill Frisell and Theo Bleckmann. Bologna Jazz Festival. Unterfahrt Jazz Club Ferrara Einsteinstrasse 42 Via 167, Rampari di Belfiore Munich Ferrara 49 0 89 448 27 94 39 0532 171 6739 unterfahrt.de jazzclubferrara.com Sunday is jam-session day at Unteffahrt, a jazz Programming at this venue is heavy on venue that also serves as an art gallery. Recent the jazz. Situated within St. John’s Tower, performers included the Dusko Goykovich Big this club has presented jazz since 1999. Band, the Yosuke Onuma Quartet and Dieter Ilg Monday nights are reserved for jam Trio B-A-C-H. sessions. GREECE La Salumeria Della Musica Half Note Jazz Club Via Pasinetti 4 Trivonianou 17 Milan Athens 39 02 5680 7350 30 21 0921 3310 lasalumeriadellamusica.com halfnote.gr For about two decades, this venue has Greek jazz musicians always have a home at been booking emerging jazz artists, the Half Note, which presents music nearly established Italian jazz talent and touring every night of the week. In addition to jazz, international musicians. Pop and rock acts the owners also book blues and world music. also play here. HUNGARY Tramjazz Departs from the Porta Maggiore plaza Budapest Jazz Club Rome Hollan Erno Utca 7 3 39 6 334 700 Budapest tramjazz.com 36 70 413 9837 A cable car serves as the evening’s venue, bjc.hu as patrons are served a meal, given a tour of This venue aims to support jazz youth. There Rome and offered a jazz concert.

FEBRUARY 2018 DOWNBEAT 73 each Wednesday night. The musicians are mainly from New Zealand; occasionally the venue will feature an international guest.

ANGEL SAINOS NORWAY Victoria Nasjonal Jazz Scene Karl Johans Gate 35 Oslo 47 23 89 69 23 nasjonaljazzscene.no/en This 300-person club is a great place to hear a blend of local and regional musicians mixed with international jazz stars, such as David Murray, Mike Stern and the Nels Cline Four. PORTUGAL Louise Phelan Quintet performs at La Casa del Mendrugo in Puebla, Mexico. HOT CLUBE DE PORTUGAL Praca de Alegria 48 Lisbon JAPAN MEXICO 351 21 346 0305 hcp.pt Alfie Jazz House La Casa del Mendrugo In 1948, broadcaster Luis Villas-Boas founded 6-2-35 Roppongi Calle 4 Sur 304, Centro Histórico the original club to foster the Portugese jazz Hama Roppongi Bldg. 5F Puebla de Zaragoza, Puebla scene. In 2009, the music had to move when Tokyo 52 222 232 5148 the club was hit with extensive water damage 81 3 3479 2037 casadelmendrugo.com from flooding. In the relatively new space, jam facebook.com/pages/ Live jazz is at the center of La Casa del sessions are held every Tuesday. Alfie/147192971998741 Mendrugo, but it’s certainly not the only Owners book mostly local musicians in this thing this venue has to offer. It also has a full RUSSIA intimate venue, which was founded by the restaurant, a museum and an art gallery. late drummer Motohiko “Toko” Hino. IGOR BUTMAN JAZZ CLUB Zinco Jazz Club 21, Verkhnyaya Body And Soul Calle Motolinia 20, Centro Radischevskaya St. 6-13-9 Minamiaoyama Mexico City Moscow Tokyo 52 55 5512 3369 7 (495) 792-21-09 81 3 5466 3348 zincojazz.com butmanclub.ru Igor Butman, the most famous saxophone bodyandsoul.co.jp In December, the Zinco Big Band shared the player to come out of Russia, owns his Presenting local jazz music six days a calendar with the Dannah Garay Quinet and a namesake club in Moscow. At the venue, week for two shows each night, Body And tribute concert celebrating . he showcases Russian jazz, but also books Soul serves as an advocate for Tokyo Programming at Zinco may run the gamut huge stars from the States, such as Christian jazz musicians. International touring acts from pop to jazz, but the club’s dedication to McBride, Chris Potter and Ron Carter. occasionally stop into the club. improvised music is unmistakable. Downbeat THE NETHERLANDS JFC Jazz Club Miyamoto Bldg, 2F 1-43 Shpalernaya St. 33 BIMHUIS St. Petersburg Yokahama Piet Heinkade 3 045 241 6167 7 812 272 9850 Amsterdam jfc-club.spb.ru yokohama-downbeat.com/index.html 31 20 788 2150 You’ve got to be doing something right if Russia-based musicians from various bimhuis.com genres flock to JFC to perform. The venue you’ve been presenting jazz in Tokyo since Since 2005, when it moved to a modern the mid-1950s. This venue has built a great showcases New Orleans style jazz, along with building right on the water, Bimhuis has rock, blues and avant-garde music. jazz legacy in an intimate setting. been a crowning jewel among European jazz venues. Bimhuis presents more than 300 Jz Brat concerts each year, billing local, European and SCOTLAND 26-1 Sakuragaokach international artists. Jam sessions happen each The Jazz Bar Shibuya Tuesday. Upcoming shows include the Marcin 1A Chambers Street Tokyo Wasilewski Trio (Jan. 31), Mike Reed’s Flesh Edinburgh 81 03 5728 0168 & Bone (Feb. 3) and the Charles McPherson 44 0 131 220 4298 jzbrat.com Quartet (March 8). thejazzbar.co.uk Jz Brat focuses on jazz—for example, the The Jazz Bar programs r&b, soul, rock and recent appearance of Jun Saito and Hiroyuki Jazz Cafe Alto jazz. One of the more inventive running gigs is Wanatabe’s Drum Talk—but ownership Korte Leidsedwarsstraat 115 the World Premiere Quintet, a Saturday night presents rock, hip-hop and r&b. Amsterdam show during which a random selection of five jazz-cafe-alto.nl/home jazz players unite to create music—no set list, Shinjuku Pit Inn This venue presents jazz and blues shows no rehearsal time, just improvised music. 2-12-4 Accord Bldg. B1 every night of the week. Shinjuku shinjuku-ku SOUTH AFRICA Tokyo NEW ZEALAND 81 3 3354 2024 The Crypt pit-inn.com Creative Jazz Club Aotearoa St. George’s Cathedral, 1 Wale St and This club books a lot of large ensembles: In 1885 Britomart Adderley St. December, the Otomo Yoshihide Special Big 27 Galway St. Cape Town Band closed out the year with eight concerts, Auckland 27 79 683 4658 and the month began with a concert by the 0212 389 747 thecryptjazz.com Shibusasirazu Orchestra. The club features creativejazzclub.co.nz Located under a church, this venue presents mostly local jazz artists. Creative Jazz Club presents a jazz showcase live jazz Tuesday through Saturday.

74 DOWNBEAT FEBRUARY 2018 The Orbit Jamboree Jazz Club SWITZERLAND 81 De Korte St. Plaça Reial 17 Marian’s Jazz Room Johannesburg Barcelona Engestrasse 54 27 11 339 6645 34 933 19 17 89 Bern theorbit.co.za masimas.com 41 31 3096 111 This welcoming, regional jazz spot presents Founded in 1960, this club hosts the best mariansjazzroom.ch music nearly every night of the week. jazz musicians in Catalonia, as well as This venue, which is located in the Innere international stars such as Harold Mabern. Enge Hotel, has presented world-class jazz SPAIN Jimmy Glass Jazz Bar for more than 25 years. Closed during the Bogui Jazz summer months, bookers program jazz artists Calle Baja 28 five days a week from September to May. Calle Barquillo 29 Valencia Madrid 34 656 89 01 43 34 915 21 15 68 THAILAND jimmyglassjazz.net bogui.es This club, which is 25 years old, presents Saxophone Pub Bogui features stars from the Spanish and Spanish jazz artists and international stars. 3/8 Phayathai Rd. Victory Monument European jazz scenes as well Americans such Bangkok as . SWEDEN +66 022 465 472 saxophonepub.com Cafe Central Fasching For more than three decades, Thailand’s jazz Plaza del Angel 10 Kungsgatan 63 musicians have performed at Saxophone Madrid Stockholm Pub. Music happens seven nights a week. 34 913 69 41 43 46 8 20 00 66 The booking leans heavily toward jazz, but cafecentralmadrid.com fasching.se other genres are occasionally presented. Founded more than 35 years ago, this club, In 1977, Fasching opened its doors to an Art Deco wonderland, offers jazz, gospel, showcase Scandinavian artists. Today, blues and other genres. The venue has patrons flock to the club to hear stars like TURKEY presented and Ernie Watts. Chris Potter rub elbows with Stockholm Jazz Nardis Jazz Club Underground and other regional artists. The Kuledibi Sok. No:8 Harlem Jazz Club club also offers reggae, indie pop and soul. Istanbul Carrer de Contessa de Sobradiel 8 90 212 244 6327 Barcelona Café nardisjazz.com 34 933 10 07 55 Brunnsgatan 21 Turkish jazz musicians share space with artists harlemjazzclub.es Stockholm from a range of genres at this 120-seat venue. Now in its 31st year, this Club has become 46 76 882 45 49 Shows happen every night of the week. The a touchstone of the jazz world in Barcelona. glennmillerprogram.se venue has recently hosted a Django Reinhardt- The progrmamming also includes blues, funk This small venue showcases jazz on style jazz group, a Latin music ensemble and and soul. There’s a blues jam every Monday. Wednesdays, Fridays and Saturdays. numerous straightahead musicians.

FEBRUARY 2018 DOWNBEAT 75 76 DOWNBEAT FEBRUARY 2018 Masterpiece +++++ Excellent ++++ Good +++ Fair ++ Poor + Inside

82 / Jazz 84 / Blues 86 / Beyond 90 / Historical 92 / Books

Lucas Pino The Answer Is No OUTSIDE IN MUSIC

LAUREN DESBERG ++++ Those who’ve caught the No Net Nonet at Smalls in New York probably know that one of the group’s calling cards is precision. Intricate themes, mercurial tempos—when the ele- ments stack up on pieces such as “Bankenstein” or “Orange” from the band’s self-titled debut, the thrills of sharp interaction speak for them- selves. Leader Lucas Pino knows what a kick this kind of clear-cut unity can generate. On the group’s The Answer Is No, he keeps the bar high; his charts are just as elaborate as before, and the ensemble fulfills on them with the same extraordinary definition. Perhaps more importantly, the quality of Pino’s designs has been bolstered along the way. This second disc boasts the hang-onto-your- seat whirl of its predecessor, but the tunes have more emotional depth. Milking Mingus a bit deepens the hues assigned to his little big band, and in the process, Pino’s stock rises. The rum- ble of drummer Jimmy Macbride’s toms mixes sagely with the opening horn flourish of the introspective “Sea Level.” As the band pushes along, a near-orchestral demeanor arises. On “Take A Walk In The Sky,” pulse and flourish accommodate each other while giving a string of swirls some breathing room as well. A cer- tain grace keeps everything moving forward. Plenty of hot solos crop up through these seven tracks. Trumpeter Mat Jodrell and trom- bonist Nick Finzer go to places that remind us just how key a little derring-do is to a per- formance. Tenor saxophonist Pino can real- ly unload on his horn as well. But the program is built on teamwork, a clutch of improvisers appreciating the prescribed guidelines. They do the job with such confidence, the title could actually be The Answer Is Know. —Jim Macnie

The Answer Is No: Pick ’Em Up, Turn The Lights Out; Take A Walk In The Sky; The World Ahead; Sea Level; Sidestep; Mass-pro- duced Person; I Can’t Remember. (50:56) Personnel: Lucas Pino, tenor saxophone; Alex LoRe, alto saxophone; Mat Jodrell, trumpet; Nick Finzer, trombone; Andrew Gutauskas, baritone saxophone; Rafal Sarnecki, guitar; Glenn Zaleski, piano; Desmond White, bass; Jimmy Macbride, drums. Lucas Pino Ordering info: outsideinmusic.com

FEBRUARY 2018 DOWNBEAT 77 captures the saxophonist in his quintessential glory. He imbues the music with unflinching emotional immediacy and jolting enthusiasm. Drummer Joe Farnsworth, percussionist Alex Diaz and bassist John Webber steer the program through various rhythmic pulses that range from Hazeltine’s mambo-charged “But Here’s The Thing,” which features special guest ’ sparkling trumpet asides upping the sonic fireworks; a percolating reading of Jorge Ben Jor’s samba classic “Mas Que Nada”; and the swaggering funk of Lucas Alexander’s original “Boom Boom.” While some may quip that Alexander has long been coasting through his repertoire—an argument made possibly because of the blis- Eric Alexander tering assuredness of his executions—there’s John McNeil & Song Of No Regrets no denying that he’s a force to be reckoned Mike Fahie HIGHNOTE 7311 with, especially on the disc’s ballads: his sen- Plainsong ++++ sual makeover of the Sergio Mendes-penned DESTINY RECORDS 0013 title track and his own “Corazón Perdido,” a +++ For nearly three decades, Eric Alexander’s slow-churning nugget that best allows listeners smoldering tenor saxophone tone has steam- to experience his luminous sound and majestic Plainsong is a good title for this pleasantly rolled through a sizable discography that most- lyricism. —John Murph off-kilter, cool-school collaboration between ly centers on soulful, blues-laden hard-bop. New York stalwarts John McNeil (trumpet) and Even though Alexander throws a few cur- Song Of No Regrets: But Here’s The Thing; These Three Words; Grinder; Corazón Perdido; Mas Que Nada; Boom Boom; Song Of No Mike Fahie (trombone), though a lot of dry wit veballs on Song Of No Regrets by enhanc- Regrets; Cede’s Shack; Up, Up And Away. (55:03) leavens its chipper, plainly spoken lines. The Personnel: Eric Alexander, tenor saxophone; David Hazeltine, ing his music with Afro-Cuban and Brazilian piano; John Webber, bass; Joe Farnsworth, drums; Alex Diaz, con- pair’s fetching compositions and understated rhythmic flourishes and by featuring David ga, bongos, auxiliary percussion; Jon Faddis, trumpet (1, 2), Joshua Bruneau, trumpet, cowbell (2); Esther Lomas-Sampedro, rattlesnake brass blends and weaves are a treat—and so are Hazeltine on piano instead of his mentor and (2); Lucas Alexander, triangle (2). Ethan Iverson’s surprise-filled piano solos—but longtime compadre Harold Mabern, the disc Ordering info: jazzdepot.com the album is a bit uneven and the quintet some- times feels diffuse. Daring to start with darkness, Plainsong kicks off with the mournful yet beautiful “Dover Hiromi & Edmar Beach,” originally written for the late guitarist Castaneda John Abercrombie (with whom McNeil played). Live In Montreal McNeil’s more direct tribute, “Abercrombie,” TELARC also a gorgeous melody, slips into a lovely swing +++ feel, as does Fahie’s “Backseat Pedal.” But there are problems along the way. It’s hard to miss the delight Hiromi Uehara McNeil, who has overcome substantial health seems to take in performing. That vibe is on issues over the years, sounds pinched and full display here as she explores the possibilities “tubey” on “Abercrombie,” and on the same opened up by the presence of harpist Edmar track, bassist Joe Martin’s rhythmically indepen- Castaneda, who sees no reason to be contained dent lines sound almost tangential to the pro- by the usual boundaries of his instrument. ceedings. That’s not the case on the faster-paced “A Harp In New York” kicks things off with “Can Do,” with Martin walking and drummer a showcase of shifting moods and roles. Uehara Billy Hart kickin’ it. “Prospect” splits things wide anchors a melodic figure for Castaneda, then open, with clanging chords, throbbing bass and the two switch, giving her fingers room to flut- McNeil’s smears and taffy-pull phrasing. ter through a new take on a similar pattern er ideal vehicle for two players who aren’t afraid High points include Thelonious Monk’s against the underpinnings of his seeming- to unleash their senses of humor and adven- “Green Chimneys” and Fahie’s “Plain Song, ly shapeshifting string work. As the sections ture. Uehara’s suite takes over most of the rest Rain Song.” The Monk tune’s cheeky repetition change, so do Uehara’s energy and depth. There of the album, offering plenty of bright moments, feels just right for McNeil’s brand of humor, are a few abrupt changes and some moments in particularly when Castaneda channels flamen- and the ensemble falls into a pleasant groove the Castaneda-penned track that suggest the co guitar on “Fire.” But the suite’s compositions that recalls the airy openness of the Jimmy composition is serving his zeal for her technical take time to establish direction and Castaneda’s Giuffre//Bob outings. dazzle potential more than the music itself, but approach occasionally veers toward the strident, —Paul de Barros for the most part, she plays her way out of them. making the second half of the album a bit less “For Jaco,” meanwhile, sees Castaneda appealing than the first. —Jennifer Odell Plainsong: Dover Beach; Can Do; Prospect; Abercrombie; Con- versation Starter; Green Chimneys; Plain Song, Rain Song; Random alternately inhabiting bass and, briefly, piano Live In Montreal: A Harp In New York; For Jaco; Moonlight Activity; Backseat Pedal; Undercurrent; Get Out; The Tristano voices, with some room for a squeaky bit of harp Sunshine; The Elements: Air; The Elements: Earth; The Elements: Chord. (72:33) Water; The Elements: Fire; Libertango. (72:11) Personnel: John McNeil, trumpet; Mike Fahie, trombone; Ethan humor. He and Uehara are in great sync here. Personnel: Hiromi, piano; Edmar Castaneda, harp. Iverson, piano; Joe Martin, bass; Billy Hart, drums. TheStar Wars “Cantina Band” homage is anoth- Ordering info: concordmusicgroup.com Ordering info: destinyrecordsmusic.com

78 DOWNBEAT FEBRUARY 2018 The

John Murph Jim Macnie Paul Critics Jennifer Odell de Barros

Lucas Pino +++½ ++++ ++++ ++++ The Answer Is No

Eric Alexander ++½ ++++ +++ ++++ Song Of No Regrets

Hiromi & Edgar Castaneda +++ +++ +++ ++½ Live In Montreal

John McNeil & Mike Fahie +++½ +++½ +++½ +++ Plainsong

Critics’ Comments

Lucas Pino, The Answer Is No

The No Net Nonet’s welcome return to the studio shows this dynamic band at its most adven- turous. There’s a healthy sense of drama at play here that shares a bloodline with Darcy James Argue’s Secret Society, Pino’s other main gig. This is a treat, start to finish. —Jennifer Odell The majestic harmonic power and rhythmic pliancy from Pino’s nonet are matched by his imagi- native compositions and the velvety tone and biting melodicism on tenor sax. —John Murph This follow-up blast from the No Net Nonet shimmers and roils with luxurious wind textures, tempo changeups, a flood of smart ideas and deft integration of solos with ensemble develop- ment. —Paul de Barros Eric Alexander, Song Of No Regrets

Alexander pours his heart into tracks like ’s “These Three Words,” but it’s hard to get past the smooth feel. For much of the rest of the album, there’s a precision that comes off as restrained and occasionally dry. It would be nice to hear him let go a bit more. —Jennifer Odell Alexander’s emotional range continues to grow, from the somber moans of “Corazón Perdido” to the animated wails of “But Here’s The Thing.” And the band sounds authoritative throughout the disc, too. That kind of confidence goes a long way. —Jim Macnie The soulful, chest-toned tenor man takes a swing through Latin territory, including clanging Af- ro-Cuban music, torch-song bolero, slinky boogaloo and even a radio stop at the Sergio Mendes classic “Mas Que Nada.” —Paul de Barros Hiromi & Edgar Castaneda, Live In Montreal

Given these virtuosos’ propensity to display superfluous pyrotechnics, it’s refreshing to hear them pull back and provide thoughtful accompanying support for each to deliver some of the most substantial music yet of their individual careers. —John Murph Chops and flash, of course. But moments of schmaltz and cheese, too. That said, this duo has a seductive range of motion. The artists truly connect and their lines enhance each other in a deep manner. —Jim Macnie Castaneda’s harp adds attractive textures but does nothing to alter Hiromi’s fundamentally exhibitionist, crowd-pleasing style, which seems rooted not in jazz but the pyrotechnics of late-19th century classical piano. —Paul de Barros John McNeil & Mike Fahie, Plainsong

Despite spending most of the recording out front, McNeil and Fahie seem tethered to the contri- butions of their rhythm section. Iverson is thoughtful and conversational in his approach, and Hart punctuates the hornmen’s lines with an innate feel for where each is headed. —Jennifer Odell It’ll take a few spins to fully grasp the disc’s fetching, sometimes prismatic compositions and the deft musicianship. But the disc rewards with each repeated listen, especially the driving “Back- seat Pedal” and the transportive “Plain Song, Rain Song.” —John Murph The chemistry is there because the guys gig together on the reg. By featuring their combined perspectives, they accommodate a breadth of ideas, widening the music’s scope. —Jim Macnie

FEBRUARY 2018 DOWNBEAT 79 soft, restrained voice that on a less-skilled per- former might easily be overpowered. Kent is incisive even at a near-whisper, as on the tender of Jobim’s “Photograph.” Her voice becomes a featured instrument against saxophonist ’s vivacious samba “Make It Up.” Indeed, the effect in a song with a segmented lyric line, like the French- language “Avec Le Temps,” is very like a con- certo, with rich strings blooming in the spac- es Kent leaves. Along with the Jobim and other standards are several originals, composed by Tomlinson with several lyricists. On the two best songs, the latter role is author Kazuo Ishiguro’s— Kent’s longtime collaborator and a Nobel lau- Stacey Kent reate. “Bullet Train” puts Kent in a dream, with Béla Fleck & I Know I Dream: The familiar faces around her. Abigail Washburn Orchestral Sessions The closing “The Changing Lights” is I Echo In The Valley OKEH Know I Dream’s crown jewel, a bittersweet ROUNDER 1166100290 +++++ memory that could be a companion piece to ++++½ Joni Mitchell’s “The Last Time I Saw Richard.” Stacey Kent’s mezzo-soprano voice is a beauti- It’s the capstone of a nearly perfect vocal jazz With nothing more than a couple of banjos, ful instrument for offsetting orchestral accom- album. —Michael J. West Béla Fleck and Abigail Washburn have pulled paniment, a fact that I Know I Dream illustrates off something close to miraculous with Echo I Know I Dream–The Orchestral Sessions: Double Rainbow; well. The orchestra, a 52-piece London studio Photograph; Les Amours Perdues; Bullet Train; To Say Goodbye; In The Valley. Of course, there’s more involved Make It Up; Avec Le Temps; I Know I Dream; La Rua Madureira; assemblage, has a lushness that would smoth- Mais Uma Vez; That’s All; The Changing Lights. (65:50) here than the instruments; the heart of the proj- er Nelson Riddle—yet Kent cuts through it Personnel: Stacey Kent, vocals; Jim Tomlinson, saxophones, alto ect is this husband-wife team’s virtuosity and flute, percussion; Graham Harvey, piano, Fender Rhodes; John effortlessly. Paricelli, guitars; Jeremy Brown, bass; Joshua Morrison, drums; vision. Speaking generally, Fleck is the revolu- Curtis Schwartz, Fender electric bass (4); Erika Matsuo, station In fairness, the arrangements hardly com- announcement (4). tionary, the greatest innovator within this leg- pete with Kent. But the singer has a relatively Ordering info: okeh-records.com acy since Earl Scruggs. Washburn stands a lit- tle closer to tradition; although it’s difficult to be sure without a video complement to these Scott DuBois tracks, she seems not to venture too far out- Autumn Wind side of harmonic structure or slide in and out of ACT 9856 adventurous single lines during solos. ++++½ Which is not to say that her contributions are secondary in any way. First of all, she sings Autumn Wind is a moody, increasingly tem- all the lead vocals, sticking close to the tune pestuous and provocatively reflective suite rather than stretching out. But by simply sing- that ambitiously challenges the jazz/classical ing the words and the tune, Washburn, like all divide. Guitarist-composer-conductor Scott the best who draw from folk performance prac- Dubois wrote and recorded 12 themes, their tice, consistently invests each lyric with inter- opening pitches generating a 12-tone line. His pretive meaning. decade-old quartet comprising in-demand- This gives both players room to create bassist Thomas Morgan, veteran German instrumental backdrops that manage to be saxophonist Gebhard Ullmann and Danish explosively inventive and unobtrusive at the drummer Kresten Osgood improvised on same time. This is especially true on the more these pieces, and DuBois later imposed strings metrically varied compositions, such as “Don’t and woodwinds performing his written parts. loose its thunder and lightning over an impla- Let It Bring You Down,” which begins in 5/4, Each track features one more instrument cable plain, leaving no impression. However, switches to one bar of 4/4 and later goes into 7. than the last (the program starts with Dubois there are distinctive episodes of folk-rock It all flows smoothly, thanks in part to the con- alone, improvising modally, texturally). The harmolodicism, hardcore free-blowing, fla- stant presence of the tonic as the chords move. composer says he applied aleatory, minimal- menco-flecked guitar virtuosity and genuine Echo In The Valley is to bluegrass as Charlie ist and serial techniques to the material’s genre-meshing. —Howard Mandel Parker was to New Orleans in the ’20s: respect- rhythms, pitches and dynamics, but listen- ful of its roots, untethered in its ambitions and ers might not think about parsing his pro- Autumn Wind: Mid-September Changing Light; Late September Dusk Walk; Early October Insect Songs; Mid-October Migration; triumphant in bringing it all together. cesses as the band coheres and the “classical” Late October Changing Leaves; Early November Bird Formations; Autumn Wind; Mid-November Moonlit Forest; Late November —Bob Doerschuk instruments enter, thickening the polyphon- Farm Fields; Early December Blue Sky And Chimney Smoke; Mid-December Night Sky; Autumn Aurora Borealis; Mid-November ic mix. Moonlit Forest String Quartet Reprise. (68:48) Echo In The Valley: Over The Divide; Let It Go; Don’t Let It Even at Autumn Wind’s stormiest, DuBois Personnel: Scott Dubois, electric guitar, conductor; Gebhard Bring You Down; Medley: Sally In The Garden, Big Country, Molly Ullmann, tenor saxophone, ; Thomas Morgan, bass; Put The Kettle On; My Home’s Across The Blue Ridge Mountains; sustains a tonal center for his compositions, Kresten Osgood, drums; Eva León, Conway Kuo, violins; William Hello Friend; Younger Me; Winding Road; Come All Ye Coal Miners; Frampton, viola; Sarah Rommel, cello; Erin Lesser, flute; BJ Karpen, Bloomin’ Rose. (47:24) emphasized by the recording’s resonant ambi- ; Elisabeth Stimpert, clarinet; Michael Harley, bassoon. Personnel: Béla Fleck, Abigail Washburn, banjos and vocals. ance, so it’s sometimes as if nature is letting Ordering info: actmusic.com Ordering info: rounder.com

80 DOWNBEAT FEBRUARY 2018 Barry Altschul’s Andreas 3Dom Factor Hourdakis Trio Live In Kraków Señor NOT TWO RECORDS MW960 KNASTER 044 +++½ ++++ 3Dom Factor has been Barry Jazz musicians have been covering Altschul’s main vehicle since his for as long as the man return to the fray. The veteran has been on the scene. And in a time drummer’s own brand of free-bop when the Bard himself is neck-deep is particularly well served by two in , the historic rela- musicians who have considerable tionship between Bob and bop reaches a new level of modernism with experience in navigating such a territory: saxophonist Jon Irabagon and the second full-length album from Sweden’s Andreas Hourdakis Trio. bassist Joe Fonda. On the band’s third offering, they revisit old Altschul The Stockholm guitarist and his apt rhythm section of bassist Martin favorites such as “For Papa Joe, Klook, And Philly Too” and “Irina”; newer Höper and drummer Ola Hultgren utilize these seven Dylan classics as pieces that have appeared on previous recordings, “Martin’s Stew” and starting points rather than treating them as direct homages. The work of “The 3Dom Factor”; and “Ask Me Now,” a composition by Thelonious Bill Frisell provides a template for the trio’s approach here, perhaps most Monk whose music Altschul has explored on many occasions. evident in versions of “The Lonesome Death Of Hattie Carroll” and “Lay With the exception of the introductory solo on the opening track, the Lady Lay” that are presented in such an abstract language you can bare- drummer leaves the improvisational field to his two cohorts. The pro- ly find a hint of the original melodies. Yet the true muse ofSeñor reveals gram is appropriately balanced, alternating fiery romps with slower itself on versions of such deeper Dylan cuts as “Moonshiner” and “Señor pieces. On the ballad “Irina,” Irabagon picks up his sopranino instead (Tales Of Yankee Power),” where brilliant shades of Bright Size Life-era of his tenor to provide a lighter touch. The trio’s original take on “Ask Pat Metheny come into the foreground as they glide across the trio’s Me Now” is full of endless variations. “For Papa Joe, Klook, And Philly Scandinavian stratosphere. This is one of the most creative jazz transla- Too” reminds us that the freedom that fuels the band is rooted in the jazz tions of Dylan’s work in the decades-long symbiotic relationship between tradition, and Altschul proves once again that he has not lost any of his the man and this music. —Ron Hart swing touch. —Alain Drouot Señor: The Lonesome Death Of Hattie Carroll; My Back Pages; It’s Alright Ma (I’m Only Bleeding); Lay Lady Lay; Moonshiner; Political World; Señor (Tales Of Yankee Power). (39:00) Live In Kraków: Martin’s Stew; Ask Me Now; For Papa Joe, Klook, And Philly Too; Irina; The 3Dom Personnel: Andreas Hourdakis, guitar; Martin Höper, bass; Ola Hultgren, drums; Daniel Karlsson, Factor. (52:26) piano (6). Personnel: Barry Altschul, drums; Jon Irabagon, tenor and sopranino saxophone; Joe Fonda, bass. Ordering info: brusoknaster.se Ordering info: nottwo.com

Lena Bloch & Pete Levin Feathery Möbius Heart Knows IYOUWE FRESH SOUND NEW TALENT 531 +++½ +++ Despite important gigs with Gil Russian-born, New York-based sax- Evans and , plus ophonist Lena Bloch draws upon his own touring band with bass- a diverse array of gambits for the ist-brother Tony, keyboard wiz- tunes she brought to Heart Knows, a ard Pete Levin is less feted as a formidable quartet album that flour- leader than as a prolific sideman. ishes within the confines of post- Nevertheless, this is his ninth lead- bop orthodoxy. She and pianist Russ Lossing, bassist er album, and it features a cast with impressive mileage. and drummer Billy Mintz operate at a high level here, bringing a rippling The title track, with its looping 12-tone keyboard riff and Jeff Ciampa’s energy and sublimely weightless sort of interplay to the proceedings. angular guitar, trades commercialism with experimentalism. The influ- The brooding opener “Lateef Suite” is named for one of Bloch’s key ence of Evans’ rock inquiries and electric Miles Davis is apparent, but the mentors, but she doesn’t convey Yusef’s theoretical ideas in the piece, opt- material is varied and indicative of Levin’s broad experience. A standout ing instead to sculpt an effective tone poem about the enduring impres- is the African-influenced “Kakilambe,” featuring forthright contribu- sion he made upon her. Two of the four tunes Bloch brought to the record tions from Brazilian percussionist Nanny Assis, trumpeter Chris Pasin draw inspiration, albeit subtly, from the Middle East. Lossing brought and more intensity from Ciampa. There’s a funky version of Thelonious the other half of the eight pieces to the group, and his sources are multi- Monk/Coleman Hawkins’ “I Mean You,” and ’ “Another farious, too, whether reharmonizing Bach’s French Suite in D Minor for Time, Another Place” includes a nice, measured solo from the leader, the humorously titled “French Twist,” or translating early impressions of whose omnipotent role is as soundscape architect and colorist. The rous- Newfoundland in his “Newfoundsong.” The finely pitched performanc- ing closer, recorded on an earlier date with Levin on organ, Jerry Marotta es are the product of a focused group energized by diverse ideas translat- on drums and Kal David on guitar, is bounced along by bari saxist Erik ed squarely within a traditional, richly lyric attack. —Peter Margasak Lawrence and Rob Paparazzi’s disarming jaw harp. —Michael Jackson

Möbius: Promises; Another Time, Another Place; I Mean You; Fade To Blue; I’m Falling; Möbius; If; Heart Knows: Lateef Suite; Heart Knows; Three Treasures; French Twist; Esmeh; Counter Clockwise; Kakilambe; There Comes A Time; Way Down Yonder. (68.05) Munir; Newfoundsong. Personnel: Pete Levin, electric piano, clavinet, organ; , bass; Nanny Assis, percussion; Jeff Personnel: Lena Block, tenor saxophone; Russ Lossing, piano; Cameron Brown, bass; Billy Mintz, Ciampa, guitar; Alex Foster, tenor and soprano saxophone; Chris Pasin, trumpet; Lenny White, drums; drums. Kal David, guitar; Erik Lawrence, baritone sax; Jerry Marotta, drums; Rob Paparozzi, harmonic, jaw harp. Ordering info: freshsoundsrecords.com Ordering info: iyouwee.com

FEBRUARY 2018 DOWNBEAT 81 Jazz / BY ALLEN MORRISON STEPHEN FREIHEIT

Scheen Jazzorkester & Jon Øystein Rosland Tamanoar Sinne Eeg LOSEN RECORDS 177 +++½ In 1985, the Vienna Art Orchestra had an The Company Vocalists Keep album called Perpetuum Mobile. This title It’s not a bad strategy to assess singers by thing, giving classic songs like “They Say would have befitted this new recording by the the company they keep: The strongest sing- It’s Spring” and “September In The Rain” Scheen Jazzorkester, a 12-piece band led by ers are, not surprisingly, often accompanied a literate, sensitive reading, while allowing Norwegian saxophonist Jon Øystein Rosland by the best players. generous solo opportunities for her first- Sinne Eeg, Dreams (ArtistShare rate Canadian ensemble. that owes as much to classical orchestral music 0153; 46:59 ++++½): Learn to say Ordering info: dianapanton.com as to jazz. Throughout, there is a sense of con- this name: It’s pronounced “Seen-uh Eeg.” Alma Micic, That Old Feeling (Whal- stant motion that is generated by shifts that The Danish jazz singer, an established star ing City Sound 099; 33:39 +++½): unfailingly occur in quick succession. in Europe, checks all the boxes; burnished This Serbian émigré, who now calls New York Throughout the tapestry woven by Rosland, tone, perfect intonation, swing, unerring home, has absorbed the influence of clas- solos occur organically and not out of obligation taste and an adventurous streak. She is a sic jazz singers to such a degree that you’d or convention. The most significant ones are complete musician who, remarkably, also never guess her Eastern European heritage. the product of trumpeter Thomas Johansson, has a gift for interpreting lyrics in a natu- She’s abetted by judicious, spare accompa- arguably the busiest member of the band. In all ral, conversational way. On the fan-fund- niment from guitarist/husband Rale Micic, cases, they never overstay their welcome. As a ed Dreams, she surrounded herself with a vibraphonist Tom Beckham, bassist Corcor- dream team: Larry Koonse on guitar, Scott an Holt and drummer Johnathan Blake. result, Tamanoar is truly a group effort where Colley on bass, on drums and Ordering info: whalingcitysound.com collective performance is privileged over indi- Danish pianist Jacob Christoffersen. Randy Porter Trio with Nancy King, vidual prowess. Ordering info: artistshare.com Porter Plays Porter (Heavywood Music; Rosland’s arranging talents contribute Rondi Charleston, Resilience (Resil- 41:57 +++): Unlike the other albums dis- largely to the cohesiveness of the ensemble ience Music Alliance; 44:28 +++½): cussed in this column, the singer here is list- and illustrate this approach. The colorful voic- Charleston displays a pleasing, flexible alto ed as a “special guest.” This is really the Or- ings bring out the pieces’ inner beauty with the that she wields with authority. Occasional- egon-based pianist Randy Porter’s album, extensive use of countermelodies and tonal ly straddling the line between cabaret and and he delivers the goods. His modern in- contrasts. Pastoral moods are favored and only jazz singing, she proves she belongs in the terpretations of eight Porter classics (plus on rare instances do the or the latter category with assured recitations of one worthy Randy Porter original) are daz- drums disrupt the melodious output. Clifford Brown’s “Joy Spring” and Harold Ar- zlingly accomplished. Nancy King’s singing len’s “I’ve Got The World On A String,” both is inventive, but sometimes strenuously so, The main operational mode also has its featuring typically fine solos by guitarist leaving me longing for the original melody. shortcomings. It is music that will appeal to and musical director Dave Stryker. Charles- Ordering info: randyporter.com those with short attention spans, but it might ton gets excellent musical support from pi- Low-Fly Quintet, Stop For A While frustrate others who would have liked to hear anist Brandon McCune, bassist Ed Howard, (Losen Records 188; 38:05 ++½): This further developments. On the other hand, it drummer McClenty Hunter and percussion- Norwegian group, a piano trio plus cello might be an encouragement to go back often to ist Mayra Casales; Tim Ries and Alex Norris Camilla Tømta, is going for those multifaceted compositions. contribute strong horn solos. a modern take on a bluesy ’30s sound. Tøm- —Alain Drouot Ordering info: resiliencemusic.com ta brings good intonation and charisma, as Diana Panton, Solstice/Equinox well as a background in gospel, blues and Tamanoar: Snake Oil; Oppidum; Lost In Lemuria I; Sjarlatan; (Self Release, 64:46 +++½): The pop. Her own songs tend toward the slow, Latrodectus; Lost In Lemuria II; Habitable; Wabi Sabi; Lost In Lemuria genteel soul of pianist George Shearing sad and slightly off-kilter, but could use III; Tamanoar. (50:51) Personnel: André Kassen, soprano saxophone; Børge-Are infuses this silky collection of songs about more polish. Although the album doesn’t Halvorsen, flutes, alto saxophone; Jon Øystein Rosland, tenor saxo- phone; Line Bjørnør Rosland, bass clarinet; Finn Arne Dahl Hanssen, the seasons, which Panton sings with a quite gel, the group shows its potential in Thomas Johansson, trumpet; Benedikte Follegg Hol, Magne Rutle, breathy delicacy that recalls Blossom Dea- appealing takes on vintage songs. DB trombone; Åsgeir Grong, bass trombone; Rune Klakegg, piano, synth, accordion; Jan Olav Renvåg, bass; Audun Kleive, drums. rie and Stacey Kent. But she’s got her own Ordering info: losenrecords.no Ordering info: losenrecords.no

82 DOWNBEAT FEBRUARY 2018 Deafens,” deftly layering horn, , piano and tuba under a lilting flugelhorn melody. Or cue up his eerily despairing treatment of Harold Arlen’s “Out Of This World” and marvel at how, after breaking the song down to just an expres- sionist trio of piano, voice and Malte Schiller’s soprano saxophone, Partyka builds an almost Prokofievian sense of foreboding out of saxo- phones, flute, muted brass and percussion. Julia Oschewsky’s creamy mezzo-soprano remains utterly relaxed even when placed against a screaming trumpet section. And the intricate backings Partyka places behind Paul Imm’s bass solo on “Fee Fi Fo Fum” succeed thanks to the band’s masterful command of dynamics. Add in the brassy, blustering swing Ed Partyka Jazz of “The Summer Of My Discontent (Summer Adam Rudolph Orchestra feat. In My Disco Tent),” and Kopfkino stands as a Morphic Resonances Julia Oschewsky thrilling slice of state-of-the-art big band jazz. META/MOD TECHNOLOGIES Kopfkino —J.D. Considine +++½ MONS 874608 Kopfkino: The Summer Of My Discontent (Summer In My This is the third collaboration between the ½ Disco Tent); Out Of This World; Fee Fi Fo Fum; It’s The Peace That ++++  Deafens; One Two Three Ten; Ataraxia. (59:06) Meta and MOD labels, presenting Adam Personnel: Ed Partyka, conductor and arranger; Oliver Leicht, Rudolph’s multifaceted approaches. For this Calling a big band a “jazz orchestra” can some- alto and soprano saxophones, flute, clarinet, ; Florian times seem pretentious, but not in the case of Ed Trübsbach, alto saxophone, flute, alto flute, clarinet; Malte Schiller, last in the trilogy, several artists interpret a new tenor and soprano saxophones, flute, clarinet, bass clarinet; Florian set of Rudolph’s compositions. Partyka’s Berlin-based ensemble. His arrange- Leuschner, baritone saxophone, bass clarinet; Katharina Thomsen, baritone and bass saxophones, bass and contrabass clarinets; The opening title piece, and second track ments go well beyond the standard big band Kirsty Wilson, English horn (5, 6); Felix Meyer, Benny Brown, palette, exploiting timbre and dynamics to cre- Gerhard Ornig, Jörg Engels, Martin Auer, trumpet, flugelhorn; Linus “Syntactic Adventures,” are written for New Bernouli, French horn; Simon Harrer, Lukas Wyss, trombone; Robert York’s Momenta Quartet. Cello, viola and a ate the most vivid, coloristic sound possible. Hedemann, bass trombone; Jan Schriner, bass trombone, tuba; Hendrik Soll, piano; Paul Imm, bass; Reinhold Schmölzer, drums; pair of violins negotiate a dramatic and dark Note, for example, the gorgeous pastels he Julia Oschewsky, vocals. environment, delivering an opening flourish gets at the beginning of “It’s The Peace That Ordering info: monsrecords.de that breaks out into a scampering pizzicato sec- tion. These modes alternate, as singing tonali- Cowboys and ties paint a warm shimmer, organically turn- Frenchmen ing from activity to reflection and back again. Bluer Than You Think Nearing the end of the second piece, a pur- OUTSIDE IN MUSIC poseful canter develops, suggestive of works by ++++ Steve Reich or Kevin Volans. Two compositions are penned for Kaoru Cowboys and Frenchmen, a quintet led by sax- Watanabe (flute) and Marco Cappelli (acoustic ophonists Ethan Helm (alto and soprano) and guitar), this duo adopting a cautious interaction Owen Broder (alto and baritone), embraces and on “Garden, Ashes,” pacing around each other expands on a range of influences that’s excep- and eventually discovering common ground as tionally broad even for this eclectic era. Also they stride off in tandem. Rudolph is primari- featuring pianist Chris Ziemba, bassist Ethan ly concerned with creating a depth of concen- O’Reilly and drummer Matt Honor, the ensem- trated listening, usually resolved by a process ble is smart, cohesive and credible in a way like of propulsive activation. Sometimes he takes The Bad Plus or Mostly Other People Do The the musicians back for further contemplation Killing, using virtuosic skills and rhythmic before continuing the journey. power to walk the line between irony and ear- in mournful unison; “Clear Head” includes a The album’s closing “Lamento” sees nestness, with listenability as high a priority as brisk, bright sax duet that evolves within pro- Watanabe and Cappelli departing soft- group creativity. scribed but not limiting parameters to end ly, immediately following the more vigorous Bluer Than You Think, their second with multi-tracked soprano sax. “Bluer Than “Coincidentia Oppositorum,” which is almost album, opens with the John Coltrane-meets- You Think” has the funky bass intro, gos- as brash as a typical Louis Andriessen work. klezmer orientalism of “Wayfarer,” then takes pelish piano comping and bold, dark hook One of the album’s best pieces, “Orbits,” is per- a hard turn with “Beasts,” based on episodes of a radio hit, but opens wide for blowing formed by the Odense Percussion Group, from of a Steve Reich-style phased phrase alter- and a drums dance that leads to a genuine, Denmark, their spread ranging from vibra- nating with a kinky line. On “Companion live-performed fadeout. —Howard Mandel phone to tympani. —Martin Longley Plan” a ’60s soul vamp gets a riff and harmo- ny update, and Helm and Broder—on alto Bluer Than You Think: Wayfarer; Beasts; Companion Plan; Morphic Resonances: Morphic Resonances; Syntactic Lilies Beneath The Bridge; Clear Head; Bluer Than You Think; C&F Adventures; Garden, Ashes; Strange Thought; Orbits; Coincidentia and bari, respectively—solo with guttural Jam; Uncommon Sense. (57:30) Oppositorum; Lamento. (55:00) power. “Lillies Beneath The Bridge” is a vehi- Personnel: Ethan Helm, alto and soprano saxophones; Owen Personnel: Momenta Quartet, strings; Kaoru Watanabe, flute; Broder, alto and baritone saxophones; Chris Ziemba, piano; Ethan Marco Cappelli, guitar; Sana Nagano, violin; Odense Percussion cle for pianist Ziemba’s balladic lyricism and O’Reilly, bass; Matt Honor, drums. Group; Figura/Kammerat Orkester Ensemble. Honor on brushes, Helm and Broder sighing Ordering info: outsideinmusic.com Ordering info: metarecords.com

FEBRUARY 2018 DOWNBEAT 83 Blues / BY FRANK-JOHN HADLEY Playing To Win Corey Dennison Band, Night After Night (Delmark 852; 61:16 ++++): ROMAN SOBUS A regular performer at Chicago’s Kingston Mines club, Corey Dennison shows consid- erable respect for the great blues and soul- blues traditions without being interned within them. This gritty well-above-average singer and guitarist has a liberating person- ality that casts songs he’s written by himself or with multi-instrumentalist Gerry Hundt in a contemporary light. Dennison’s second Lauren Kinhan album also benefits from a rhythm section A Sleepin’ Bee that works up all the combustion needed to DOTTED I reinvigorate songs borrowed from Jimmy ++++½ Reed, Carl Weathersby (his former employ- er), country soul men Cate Brothers and Lauren Kinhan, most famous for being a mem- spiritual singers. ber of the New York Voices since 1992, became Ordering info: delmark.com Corey Dennison enamored with the classic Nancy Wilson/ The Mark Robinson Band, Live At (1961) recording on The 5 Spot (Blind Chihuahua 003; 41:09 bassist-singer-songwriter Lisa Mann. The set Capitol as a child. A Sleepin’ Bee is her tribute to ++++): When in East Nashville, go hear takes a provocative turn with ultra-sensual that album plus early Nancy Wilson in general. Mark Robinson at the Forrest Avenue club. songs by James Brown, Marvin Gaye, Willie On tribute albums, a balance needs to be Failing that, his third album’s the next best Dixon and B.B. King. struck between reverence and reinvention. thing. A former student of legendary jazz Ordering info: louispain.com man David Baker at Indiana University, he Various Artists, Howlin’ At Grease- Kinhan does not attempt to copy Wilson’s sing- manifests all the powers of his electric gui- land (West Tone 1708; 45:46 +++½): ing style, although there are moments when the tar while merging conventional or Mississip- By rule of thumb, Howlin’ Wolf tributes are influence is naturally felt. Her singing is much pi hill country blues with jazz, country, psy- a short walk onto deep quicksand. This is more extroverted, high-powered and jazz-ori- chedelia, even Chuck Berry rock. Robinson’s the exception. The Chicago and West Coast ented with plenty of wild scatting that Wilson singing is less interesting than the musicali- musicians gathered in guitarist Kid Anders- never would have attempted. The original ty of his guitar playing yet it’s adequate for en’s Greaseland Studios, the ranks including Wilson/Adderley recording was split between strong originals and tunes by the Tempta- Wolf’s pianist Henry Gray, handle “Spoonful” vocals and instrumentals, with Wilson only tions and Eddy Clearwater. and other lupine classics with passion and starring on six songs. Five (all but “I’m Afraid Ordering info: markrobinsonguitar.com proficiency. Alabama Mike and Tail Drag- The Masquerade Is Over”) are on the new proj- Mindi Abair & The Boneshakers, The ger give it their best shot emulating Wolf’s ect along with five other songs from Wilson’s EastWest Sessions (Pretty Good For A bloodcurdling vocals even though, of course, Girl; 48:06 +++½): Long established in they don’t begin to approach the master’s 1960–’64 period. safe-and-slick pop music, saxophonist-sing- existential dread. “Let’s Live Again,” a delightful song from er Mindi Abair has the audacity to cavort Ordering info: cdbaby.com Wilson’s album with George Shearing’s quin- with guitarist Randy Jacobs’ high-volume, Andrea Marr, Natural (Self Release; tet, The Swingin’s Mutual! (1961), requires a aggressive blues-rock Boneshakers. Throt- 45:36 +++½): Supported by her Funky wide range, which Kinhan readily displays tling originals, she summons the intensi- Hitmen band at 2012 and ’17 sessions, Austra- during her boppish version. In contrast, “Guess ty of forefather Junior Walker. Guest Joe lia’s blues queen proffers her first soul album Who I Saw Today” is overdue for retirement, Bonamassa multiplies the urgency of “Pret- in a career going back to 1999. She’s a gale although the singer does her best with it. Most ty Good For A Girl.” Singing the Sly Stone wind of sensuous energy, generally comport- memorable is an adventurous ride on “Never ballad “Let Me Hear It From You,” Detroit ing herself well. Yet Marr might have stuck Will I Marry,” one of three songs that feature soul singer Sweet Pea Atkinson cools down to her own enjoyable compositions, leaving the hot proceedings for a short spell. alone the Aretha Franklin gem “Rock Steady.” excellent playing from guest trumpeter Ingrid Ordering info: prettygoodforagirl.net Ordering info: andreamarr.com Jensen. ’s “The Old Country” has a King Louie’s Blues Revue, Live At Riv- Various Artists, HardCore Harp (Elec- prominent role for bassist Matt Penman before erhouse Jazz (Shoug; 55:53 ++++): tro-Fi 3455; 70:01 +++½): Andrew Gallo- Jensen’s trumpet gracefully transforms it into Portland-based organ player Louis “King way’s compilation of 19 tracks by 13 harmon- “Passion Flower.” “Born To Be Blue” and “You Louie” Pain, one of the most soulful sitting ica players who have recorded for his label Don’t Know What Love Is” are treated more at the console today, directs the sponta- fulfills a hankering for vibrant Chicago blues conventionally before the full group closes with neous big fun of a gig in Bend, Oregon. driven by honest emotion. Storied elders Bil- a romp on “Happy Talk.” — Veterans Andy Stokes and LaRhonda “Port- ly Boy Arnold, Sam Myers and Snooky Pryor land’s First Lady of the Blues” Steele set their don’t scrimp on confidence or imagination. A Sleepin’ Bee: Let’s Live Again; Guess Who I Saw Today; A vocals strongly in the intermixed blues, soul, Also making the grade are relative young’uns Sleepin’ Bee; (You Don’t Know) How Glad I Am; Never Will I Marry; Save Your Love For Me; The Old Country/Passion Flower; Born To Be jazz and r&b instrumentals of a specially as- like , James Harman and Harri- Blue; You Don’t Know What Love Is; Happy Talk. (50:23) sembled band that includes venerable Bay son Kennedy. DB Personnel: Lauren Kinhan, vocals; Andy Ezrin, piano; Matt Pen- Area trombonist Danny Armstrong and Ordering info: electrofi.com man, bass; Jared Schonig, drums; Ingrid Jensen, trumpet. Ordering info: laurenkinhan.com

84 DOWNBEAT FEBRUARY 2018 Idit Shner Florian Hoefner 9 Short Stories Coldwater Stories OA2 22147 ORIGIN 82740 ++++ +++½ 9 Short Stories marks the latest For his fourth recording overall and release from Idit Shner on the OA2 first solo outing, the German-born label. The saxophonist and compos- pianist sets a reflective tone with gen- er is currently an associate professor erous use of space, glistening ostina- of saxophone and jazz studies at the tos and a tender touch. Inspired by University of Oregon. the maritime landscape of his new In spite of the rich precedent for home base of Newfoundland, the women players and composers in jazz, there remains a lack of opportu- large Canadian island off the east coast of the North American mainland nities for women in this music. Happily, more female artists today are where he moved three years ago from New York City, Coldwater Stories growing empowered to take their careers into their own hands. Shner, for is, ironically, more luminous than Hoefner’s previous Origin release, example, not only produced her latest effort, but she also composed eight Luminosity, a muscular quartet outing featuring tenor saxophone burn- of the nine tracks on the album. er Seamus Blake. While 9 Short Stories highlights Shner’s gifts as a multi-reedist, what Opening on a contemplative note with the sparsely appointed, slight- resonates most with the listener are the incredible journeys taken with ly melancholic “The Great Auk,” Hoefner continues the calming vibe every “story” and collaboration between her longtime bandmates—pia- with “Migration” and sublime pieces like “Sunrise Bay” and “The Way Of nist Josh Hanlon, bassist James Driscoll and drummer Stockton Helbing. Water.” The buoyant “Green Gardens” carries an uplifting lilt while the On 9 Short Stories, Shner encapsulates just some of her varied influ- more somber “Never Lost” has the feel of one of Keith Jarrett’s ruminative ences—from the polymetric rhythms of New Orleans and the black sections from the Köln Concert. In fact, like much of Jarrett’s playing from church on “Revision,” to the spirituality and otherworldliness of that landmark album, it’s hard to tell where composition ends and impro- Coltrane on “Hymn And Variations.” Despite jet-setting from one sound visation begins on Coldwater Stories. Recorded at the acoustically brilliant to another, you never feel deprived or overwhelmed by the shift, as each Sendesaal concert hall in Bremen, Germany, this one is especially good of Shner’s tunes lends something to the prior song. —Shannon J. Effinger for soothing frayed nerves or casting a wistful spell. —Bill Milkowski

9 Short Stories: Revision; Passion Flower; Arrival; First Waltz; Hymn And Variations; Like Satie; Depar- ture; Angst As Usual; Not Friends. (35:00) Coldwater Stories: The Great Auk; Migration; The Send; The Way Of Water; Never Lost; Iceberg; Personnel: Idit Shner, alto and soprano saxophone; Josh Hanlon, piano, Hammond B-3; James Green Gardens; Sunrise Bay; Iceberg; With The North Atlantic. (54:16). Driscoll, bass; Stockton Helbing, drums. Personnel: Florian Hoefner, piano. Ordering info: originarts.com Ordering info: originarts.com

Oscar Feldman Cory Weeds Gol Let’s Groove: The ZOHO 201705 Music Of Earth ++½ Wind & Fire Argentinian saxophonist Oscar CELLAR LIVE 041017 ½ Feldman presents the breadth of ++ his interests on this generously pro- Alto saxophonist Cory Weeds previ- portioned CD, sometimes to a fault. ously teamed with Hammond While he sounds engaged across B-3 player Mike LeDonne for the the styles represented here, listeners fresh-sounding Condition Blue: The who appreciate his bolder moments Music Of Jackie McLean and the might not want to hang with his smoother ones. less-persuasive Up A Step: The Music Of Hank Mobley. Now the pair has “Viva Belgrano,” the sole Feldman composition among this album’s turned to a less likely object of jazz homage: vintage r&b hit-makers Earth, eight tracks, is an ode to a triumphant goal that put his hometown soccer Wind & Fire. This concept, driven by LeDonne and his skilled arrange- team over the top. Framed by the fulminations of an impassioned sports ments, would surely have been better captured live in a bar, the band hot commentator, the combo passes possession of the solo moment from to entertain a crowd of revelers. The slick studio sound of Let’s Groove has one man to the next, and each player sounds like they’re trying to break scarcely a hair out of place, not a bead of sweat in the mix. beyond the stately melody. Advance one tune and Feldman swaps sports The title track has some finger-snapping charm, with tenor player fever for nap-time torpor by turning the Cuban bolero “Murmullo” into Steve Kaldestad paired with Weeds for front-line unisons as LeDonne a syrupy, soprano-led ballad. A lengthy unpacking of Beck’s “Nobody’s voices most of the vocal hooks at the keyboard. When it comes to Fault But My Own” unlocks some intriguing polyrhythmic combina- “Shining Star,” no amount of smooth facility can make up for the lack tions, but it’s possible you’ll forget all about them two tracks on when of the original’s dazzling vocal arrangement. If the other uptempo tracks the band digs into an irritatingly busy treatment of the Beatles’ “I Feel suffer from a glib vibe, the ballads “Imagination” and “After The Love Is Fine” that is only partly redeemed by the leader’s impassioned alto solo. Gone” sound like the sort of pop-jazz Muzak one might hear amid the Gol may authentically express Feldman’s diverse interests, but this album aisles of a chain grocery. —Bradley Bambarger might make more sense if he separated them. —Bill Meyer

Gol: I Let A Song Go Out Of My Heart; La Cancion Que Falta; Viva Belgrano; Murmullo; N.N.; Nobody’s Let’s Groove–The Music Of Earth Wind & Fire: Let’s Groove; Getaway; Devotion; You And I; The Fault But My Own; Is That So?; I Feel Fine. (66:32) Way Of The World; Imagination; Shining Star; Kalimba; After The Love Is Gone. (64:36) Personnel: Oscar Feldman, alto and soprano saxophone; John Benitez, acoustic and electric bass; Leo Personnel: Cory Weeds, alto saxophone; Steve Kaldestad, tenor saxophone; Mike LeDonne, Ham- Genovese, piano, keyboards; Antonio Sanchez, drums; Guillermo Klein (2), vocals, keyboards. mond B-3; Dave Sikula, guitar; Jason Tiemann, drums; Liam MacDonald, percussion. Ordering info: zohomusic.com Ordering info: cellarlive.com

FEBRUARY 2018 DOWNBEAT 85 Beyond / BY RON HART The Gospel of Bob ©HOWARD ALK For too many years, Bob Dylan’s “Born Again” period has been improperly tagged as one of the eras to avoid at all costs. But then again, it’s that same wrongheaded disdain that makes discovering this aspect of his career so gratifying. And it’s also what’s helped to build the anticipation for the 13th volume of Dylan’s quarter-centu- The Heliosonic ry-old Bootleg Series archives, rendering it perhaps the most anticipated edition to Tone-tette date. Heliosonic Toneways Vol. 1 The ensembles Dylan assembled for the SCIENSONIC 10 albums Slow Train Coming, Saved and Shot ++++ Of Love rank amongst the best bands he has worked with since going electric, enhanced The two volumes of Heliocentric Worlds that by the massive talents of legendary ses- ESP Records released in the 1960s loom espe- sion drummer , acclaimed FAME cially large in Sun Ra’s voluminous discogra- Studios keyboardist Spooner Oldham, Lit- Bob Dylan phy. Ra wanted to stretch people’s notions of tle Feat guitarist Fred Tackett and former what was possible, and the outlines of his musi- CSNY bassist Tim Drummond, all of whom Willie Smith taking over for Spooner on keys cal concepts are expansive enough that they’re would accompany him during and the addition of second guitarist Steve still ripe for investigation 50 years later. that era. And when combined with the in- Ripley—the song literally explodes with Holy Scott Robinson, a veteran multi-instru- vincible group of backup singers featuring Ghost maximalism on emotional overdrive. mentalist and proprietor of Sciensonic Records, the talents of Clydie King, Carolyn Dennis, The third and fourth discs consist main- is especially suited to such work. The Heliosonic Regina McCrary, Helena Springs, Madelyn ly of previously unreleased studio outtakes Quebec, Mona Lisa Young, Gwen Evans and and rehearsals, including a beautiful alter- Tone-tette includes two members of the current Mary Elizabeth Bridges, it’s quite a pow- nate version of the -era high- Sun Ra Arkestra, including Marshall Allen, erful evolution to behold as you dig into light “Caribbean Wind” featuring longtime who played on the original Heliocentric Worlds Trouble No More–The Bob Dylan Boot- Neil Young cohort Ben Keith on pedal steel. sessions. The Tone-tette’s music was totally leg Series Vol. 13, 1979–1981 (Colum- The “best of” collection from Dylan’s three- improvised by the participants, but they did so bia/Legacy; 77:14/76:00/66:48/69:09/ night run at the Toronto Maple Leaf Gar- very much in the spirit of those long-ago ses- 48:43/45:52/42:02/65:14 +++++). dens on discs five and six might be short in sions. Low winds braid intricate lines through The majority of these eight discs compile length, but long on rich, spirited versions of “Heliotone 1B.” On “Heliotone 3A,” timpani live material, giving listeners an oppor- material like “Are You Ready?” and the reg- and bass marimba generate masses of sound tunity to hear this group develop in real gae-flavored “Man Gave Names To All The that expand and contract like cumulous clouds time. For the lion’s share of this era, Dylan Animals.” By the time you get to the com- refused to perform anything but his de- plete concert at London’s Earl’s Court from while overblown reeds flash like lightning. On votional music, which in turn incited fans June 27, 1981, featured on discs seven and “3B” the bulbous sounds of Allen’s EVI direct to walk out of shows, opting to watch the eight, the show when he finally lifted the the listener’s gaze towards outer space. street performers playing the singer’s old moratorium on his pre-’79 works, you’re so This music is much closer to the often- material outside of the arena. But those dizzied up by Dylan’s gospel you find your- thorny music that Sun Ra made in the 1960s who stuck around saw this outstanding self fuzzy about where the religious music than the boisterous anthems that constitute band get tighter and stronger with each ends and the old warhorses begin. the current Arkestra’s standard fare, but there’s gig, evident as you listen to each of these By this time, the band was at the height one moment when Matt Wilson’s syncopated eight discs in order. of its collective powers, the Muscle Shoals beat induces some call-and-response exchang- The first two CDs contain selections revue trip reaching peak nirvana as “I Be- es between the horns that would be just the from assorted dates across these three years lieve In You” bleeds into “Like A Rolling on the road. And perhaps the clearest indi- Stone” as if they belonged together the thing to accompany one of the Arkestra’s joy- cation of how this group jelled into argu- whole time. None of the controversial “ser- ous marches through a crowd. —Bill Meyer

ably Dylan’s best live band is the two per- monizing” in which Dylan partook during Heliosonic Toneways Vol. 1: Heliotone 1A; Heliotone 1B; Helio- formances of the Slow Train staple “Gotta these tours makes the cut, save for the dia- tone 2A; Heliotone 2B; Heliotone 3A; Heliotone 3B; Heliotone 4A; Heliotone 4B; Heliotone 5B; Heliotone 6; Heliotone 7. (62:12) Serve Somebody” featured here: When the logue utilized so brilliantly by actor Michael Personnel: Scott Robinson, tenor saxophone, bass marimba, elec- group played it in San Francisco on Nov. 15, Shannon in the documentary film featured tric piano, piccolo, timpani, theremin, “power bore” bugle, Faventia barrel piano, treichel bell, soundsheet, dragon drum, space 1979, shortly after the tune reached no. 24 on the accompanying DVD. Nevertheless, magnets; Marshall Allen, alto saxophone, EVI, Casio VL-tone, piano, on the Billboard charts, they were playing Trouble No More paints a solid, stirring bass marimba; Philip Harper, trumpet; , trombone; Tim Newman, bass trombone; Pat O’Leary, string bass, waterphone; JD pretty close to the way it sounded on the al- portrait of the artist and his three-year bro- Parran, bass clarinet; Yosvanny Terry, alto saxophone, woodblocks, bum. However, by the time they got to Bad mance with the Almighty. DB bells; Danny Ray Thompson, baritone saxophone, flute, bontos, space sound tube; Matt Wilson, drums, timpani, Korean gong, Segeberg, Germany, on July 15, 1981—with Ordering info: legacyrecordings.com dragon drum. Ordering info: sciensonic.net

86 DOWNBEAT FEBRUARY 2018 Halvorson and Brandon Seabrook. A hint of prepared guitar melds into a tradeoff of emphat- ic exclamations of anti-chords, harmonics and spidery pizzicato. Enter the drum kit and a duo of Taylor Ho Bynum’s cornet and ’s trumpet improvising over 15-beat cycles. Momentary melody resurfaces and the sex- tet wanders into a two-drum-kit extravaganza from the bandleader and Gerald Cleaver. Triple Double is all about in-your-face intensity. Active avoidance of melodic con- sonance by the guitars makes for angular and dissonant rebellious dark anti-melodies. “Love And Protest” lassos down-home cow- boy with rapid picking and tremolo effects on Halvorson’s guitar, repeating loud static dig- Tomas Fujiwara ging-in of notes, and ancient 1950s-reminiscent Rudd/Victor/ Triple Double raw reverb. Fujiwara blurs compositional form Harris/Filiano FIREHOUSE 12 04-01-026 while looped guitar effects proceed from an Embrace +++½ introductory funeral-like dirge into free horn RARE NOISE 2012 exploration and exiting sorrowful melody. “For ++++½ Triple Double’s instrumentation is a double trio Alan,” Fujiwara’s poignant tribute to legendary (two drummers, two guitarists, cornet and drummer Alan Dawson, features recordings of The idea of a bunch of standards and jazz oldies trumpet), and at other exploratory moments, Dawson teaching Fujiwara to play drums at the played by a crusty veteran trombonist with gal it’s a splendid triple duo. Doubling up instru- age of 10. —Kerilie McDowall singer and drum-less rhythm section may not ments with a nod to , the new strike you right off as hot stuff, but let me pull recording offers creative adventures that show- Triple Double: Diving For Quarters; Blueberry Eyes; Hurry Home your coat. B/G; Pocket Pass; For Alan; Love And Protest; Decisive Shadow; case New York drummer Tomas Fujiwara’s pas- Hurry Home M/T; Toasting The Mart; To Hours. (58:34) Trombonist Roswell Rudd inhabits his sionate compositions. Personnel: Tomas Fujiwara, drums; Gerald Cleaver, drums; Mary noblest of axes like none other. He reigns Halvorson, guitar; Brandon Seabrook, guitar; Taylor Ho Bynum, “Diving For Quarters” presents call-and-re- cornet; Ralph Alessi, trumpet. over dead-slow tempos and excels at medium sponse playfulness from guitarists Mary Ordering info: firehouse12records.com trots, summoning more dry wit and expres- sive breadth with plunger mute on “Can’t We Be Friends” than Charlie Chaplin. Vocalist Fay Nestor Torres Victor evinces pain, joy and lust with excep- Jazz Flute Traditions tional candor and warmth. Bassist Ken Filiano ALFI 8817 and pianist Lafayette Harris find amiable affin- +++½ ity as backroom buddies of easy accord, imper- fect straight men for free-form front-line antics. Nestor Torres’ Jazz Flute Traditions opens up The repertoire on Embrace was all written with “Swingin’ Shepherds Blues,” a jaunty before 1958 (except a wry ditty by Rudd’s part- blues written by Moe Koffman, followed by ner, Verna Gillis). At 82, Rudd has been playing a classic track from the late , these compositions for ages, and his accumu- “Memphis Underground.” Played pret- lated affection is tangible as barnacles. They’re ty much true to form and tempo as Mann eclectic as Rudd, who embodies a rich conflu- recorded it in 1969, this live recording at ence of jazz cultures. WDNA in Miami features a soulful turn on These are no polished charts, rather rough- alto saxophone by Ian Munoz, with flutist cut barroom jams by solid pros exuding gritty Torres stretching out a little more with some experience and slow-smoked passion. Taking Latin zest on the back end. A more famil- their sweet time, the band jostles inside the lyr- iar Torres returns with the torrid “Jungle “Windows,” originally heard with Corea and ics to nudge nuanced emotions. Fantasy,” reminding us how his flute can fly . It still has the swivel of the origi- Thelonious Monk’s “Pannonica”—drawn at any tempo. Likewise with his visit to Chick nal, but is played at a much more relaxed pace. from Carmen McRae’s version with Jon Corea’s “Spain” (via an adagio by Joaquin Cole Porter’s “So In Love” is played at a crawl, Hendricks’ lyrics—is a far cry from the snap- Rodrigo), the tune again played at the orig- and rightfully so. “Miami Beach Rhumba,” a py two-step he and laid down on inal fast tempo but with Joe Farrell’s orig- hearty hoedown chock full of percussive twists School Days (1961). Roswell here reminisces on inal flute spot expanded upon by the lead- and turns, takes us out on familiar Torres turf. his savory, crunchy career, showing us, with a er. Pianist Silvano Monasterios emerges as —John Ephland bearhug, that it’s been one swell ride. Torres’ sparring partner for this date. —Fred Bouchard Things get more interesting as Torres Jazz Flute Traditions: Swingin’ Shepherds Blues; Memphis Underground; Jungle Fantasy; Adagio from Concierto De Aranjuez/ moves into a quieter zone with the reflec- Spain; The Golden Flute; Serenade To A Cuckoo; Sequenza/Gazzel- tive “The Golden Flute,” a waltz loni; Cute; Windows; So In Love; Miami Beach Rhumba. (73:01) Embrace: Something To Live For; ; Can’t We Personnel: Nestor Torres, flute; Silvano Monasterios, piano; James Be Friends?; I Hadn’t Anyone Til You; Too Late Now; House Of The that finds the flutist singing like a nightin- Ousley, bass; Michael Piolet (1–7, 9–11), Marcus Grant (8), drums; Rising Sun; I Look In The Mirror; Pannonica. (65:11) Jose Gregorio Hernandez, Miguel Russell (2, 3, 11), percussion; Ian Personnel: Roswell Rudd, trombone; Fay Victor, vocals; Lafayette gale. The most dramatic moment comes with Munoz, alto saxophone (2, 6, 8). Harris, piano; Ken Filiano, bass. Torres’ more measured approach to Corea’s Ordering info: alfirecords.com Ordering info: rarenoise.com

FEBRUARY 2018 DOWNBEAT 87 that they forgot to make it expressive. This is most apparent in Porter’s composi- tions. Primarily known as a jazz historian (of great knowledge and perception), Porter devotes his space in the liner notes to explain- ing the structural details of “Journey” and “Olivier.” And indeed that may be all to say about them. The former could be a kicky dance number (with shifting meters) if anybody but drummer Bertram Lehmann seemed to be having any fun. “Olivier” has a promisingly mysterious opening that soon gets swallowed by its own self-conscious complexity. But Scarff’s contributions, and the covers, fare little better. Despite some bright moments in “Bageshri-Bageshwari,” its primary take- /Phil away is that it takes a leitmotif from the bass Jackie Allen Scarff Group line of Joe Zawinul’s “Birdland.” Moreover, Rose Fingered Down Three Minutes To Four Scarff’s use of a tamboura in this and in the two AVANT-BASS WHALING CITY SOUND 100 authentic ragas is a thuddingly obvious touch. +++½ ++½ Both of Scarff’s suites share Porter’s proclivi- ty for dull complexity. His tune “Long Ago” is Jackie Allen is among the many talented but Featuring two full-length traditional ragas (and the disc’s highlight, as much by default as by its under-the-radar singers you often find in unex- an original piece based on a third), a pair of two- for-once-engaging cheer. —Michael J. West pected places, meaning anywhere outside of part suites, four straightahead originals and a New York City. On Rose Fingered Down, Allen’s Sonny Rollins cover, Three Minutes To Four is Three Minutes To Four: Journey; Bageshri-Bageshwari; Olivier; 12th album since 1994, she showcases a pol- Long Ago; Raga Shree, Gajarawa Baje Hi Rahila Baje Hi Baje Hi; nothing if not ambitious. That ambition is con- Skies Of Africa Suite: Bird Songs Of Hermanus, Branches In The ished virtuosity and a varied procession of her Trees; Three Minutes To Four; Striver’s Row; Serially Retro Suite: musical personas. ceptually imaginative, impeccably performed Dozens Not Baker’s/Retro Cells; Raga Bhairavi. (73:25) …and emotionally empty. Pianist Lewis Porter Personnel: Lewis Porter, piano; Phil Scarff, tenor, soprano and The title song is not really a song at all but sopranino saxophones, tamboura; John Funkhouser, bass; Bertram and saxophonist Phil Scarff apparently expend- Lehmann, drums. an intimate, often whispered recitation ed so much intellectual energy on the music Ordering info: whalingcitysound.com entwined in wafting coils of seductive, film noire accompaniment. In tandem, they radi- ate a fiercely sensual erotic vapor. It’s inspired Henrique Eisenmann by The Odyssey and Odysseus’ encounter with The Free Poetics Of the goddess of the dawn, although the connec- Henrique Eisenmann tion is somewhat lost in the breathy but seduc- RED PIANO 14599-4429 tive pillow talk. But Allen has more faces and +++ voices than Sherlock Holmes, a skill she itali- cizes on the second cut, “NOLA,” as she sashays Brazilian pianist and composer Henrique down New Orleans’ Bourbon Street swinging Eisenmann effortlessly braids ideas from dis- a naughty backbeat and a hot Southern accent parate traditions and disciplines on this rigor- reflected in Victor Garcia’s plunger horn. ously conceived quartet outing. Having established her control over two It makes sense that the album’s second very different poles, she begins to explore some track is a spry, dancing interpretation of of the in-between. “Time” begins coyly, gets “Zurich” by Hermeto Pascoal, one of Brazil’s wild as John Moulder smashes things up, then most important musicians; Eisenmann cer- comes back to coy. “Bel Air BBQ” is a slice of tainly seems interested in pursuing a similar- Southern fried funk that she sings with an ly multifarious path. On this track and numer- assertive, hip-swinging thrust. She then turns nate from the sing-songy melody delivered ous others, the interplay of the pianist with his “The Laugh That Is You” into a shimmer- by a young Ghanaian boy. More subtle is the South American ensemble—fellow Brazilians ing paradigm of stylish and sophisticated jazz tonal influence of Zimbabwean mbira music Gustavo D’Amico on soprano saxophone and singing. It swings with a light airiness and is on “Afro-Latidos,” a deeply propulsive vehi- Rogerio Boccato on percussion, and Peruvian her highlight moment on the CD. “Moon On cle that allows D’Amico to dispense with the Jorge Roeder on bass—offer shape-shift- The Rise” has some lovely verbal imagery but generally sweet-toned approach on the album ing harmonic and rhythmic exchanges with can’t quite escape its own poetic narcissism and in favor of wonderfully charged lines, deliv- breathless fluidity. actually tell a story. Same with the lyrical mood ered with an abraded tone, that draw upon , “Introduction: Niños of “Dark Butterflies”—a provocative thought free-jazz tradition. —Peter Margasak Peruanos,” is one of several pieces that use that doesn’t quite fly. —John McDonough field recordings of children singing and Rose Fingered Dawn: Rose Fingered Dawn; NOLA Love talking, and further transcribes them and The Free Poetics Of Henrique Eisenmann: Introduction: Song; Time; Dark Butterflies; Bel Air BBQ; The Laugh That Is weaves the melodies of the patterns into Niños Peruanos; Zurich; Sarabande No. 2; Jeneupti; Afro-Latidos; You; Moon’s On The Rise; Holy Man; Sweet Dreams; Steal The Anthropophagy; Dans un Fracas de Plumes (birds); Zumbi; Epil- Night. (49:21) the arrangements. “Jeneupti” also overlays logue: Pîfanos. (53:09) Personnel: Victor Garcia, trumpet; Andy Baker, trombone; Geoff Personnel: Henrique Eisenmann, piano; Gustavo D’Amico, sopra- Bradfield, reeds; John Moulder, guitar; Tom Larson, keyboards; chord changes from the Charles Ives piece no saxophone; Jorge Roeder, bass; Rogerio Boccato, percussion. Hans Sturm, bass; Dane Richeson, drums. “Serenity” to cast a spell that seems to ema- Ordering info: redpianorecords.com Ordering info: avant-bass.com

88 DOWNBEAT FEBRUARY 2018 Ernesto Cervini’s Rob Schneiderman Turboprop Tone Twister Rev HOLLISTIC MUSICWORKS 16 ANZIC RECORDS 0059 +++½ ++++ Throughout his sideman stints with The latest project by Ernesto notables such as James Moody, J. Cervini’s Turboprop focuses on J. Johnson, and Eddie its American and Canadian band Harris, his tenure in the band members’ melodious composi- TanaReid and his 10 previous discs as tions with equal sharing of the spot- a leader, pianist Rob Schneiderman light. Rev has a relaxed vibe, with has shown a straightahead heart the sextet locking in with tight horn lines, solo features and group inter- marked by lyricism and no-nonsense taste. play. Bandleader Cervini, who hails from Toronto, is an accomplished That holds true on this set featuring eight originals burnished with multi-instrumentalist on clarinet, piano and drums. subtle left turns and infused with shades of Latin (“Footloose Freestyle”), Feel-good improvisation on the title track delivers memorable fun, blues (“Tone Twister”) and even a dose of half-time funk (“Left Coast with floating chromatic horn lines shapeshifting behind Cervini’s Lullaby”). The centerpiece grabber is “Slapdance-Tapstick,” an uptempo driving drum solo. “Granada Bus’” is an imaginative, fiery feature of swinger inspired by tap dancer Buster Brown. Davidson, Farrugia and Frahm. Cervini anticipates and shapes emerg- This quintet’s sumptuous sound owes much to the rich, warm front- ing improvisatory ideas and propels his bandmates’ playful ideas. line union of trumpeter Brian Lynch (who owns the label and produced) Lyrical, inventive writing by Cervini’s sextet members complements and tenor saxophonist Ralph Moore. These two luminaries are, of course, the two tracks penned by the drummer/bandleader/producer. tremendous soloists. But the key here is their rare sonic blend. Compositional displays showcase dazzling melodic writing and arrang- Bassist Gerald Cannon—taking time off from his long tenure as ing from Toronto trombonist/composer William Carn, spirited upbeat McCoy Tyner’s musical director—lends his signature fat, solid support, flourishes from New York bassist Dan Loomis and high-energy explora- while drummer Peter Van Nostrand is grooving, probing and catalyzing tion from Toronto pianist Adrean Farrugia. —Kerilie McDowall throughout. In essence, it’s the sound of a deeply connected quintet. —Jeff Potter

Rev: The Libertine; Granada Bus; No Rain; Rev; The Daily Mail; Pennies From Heaven; Ranthem; Act Of Tone Twister: Footloose Freestyle; Unforgettable; Left Coast Lullaby; Distant Memory; Slap- Instability. (48:42) dance-Tapstick; Windblown; Tone Twister; Tailspin; The Lion’s Tale. (61:00) Personnel: Ernesto Cervini, drums; Tara Davidson, soprano and alto saxophones; Joel Frahm, tenor Personnel: Rob Schneiderman, piano; Brian Lynch, trumpet; Ralph Moore, tenor saxophone; Gerald saxophone; William Carn, trombone; Adrean Farrugia, piano; Dan Loomis, bass. Cannon, bass; Peter Van Nostrand, drums. Ordering info: ernestocervini.com Ordering info: robschneiderman.bandcamp.com

Richie Cole Musicianer Latin Lover Slow Learner RCP 005 ILUSO RECORDS 08 ++½ ++++ Following the death of , This trio plays together with an ease Richie Cole stands as the leading and fluency that bespeaks a cou- reminder of the seductive power of ple decades of shared experience the alto saxophone when it’s played between baritone saxophonist fluidly over sophisticated changes. Josh Sinton, bassist Jason Ajemian Unfortunately, the spell is broken and drummer Chad Taylor. When when the tune doesn’t pass muster. Sinton’s tunes call for a groove, they Cole is at his fleet, inventive best on “If I Only Had A Brain.” He sails move with him like synchronized dancers. through the melody, building in asides and rubato phrases, and nodding Sinton writes melodies that could fit a singer’s voice as easily as they do to Charlie Parker with a reference to “Stormy Weather.” It’s not particu- his horn’s, and he imbues them with lived-in emotion. The way “Can’t larly Latin in feel, but it’s an exhilarating ride. At the other end of the spec- Really Say” drops to a hush halfway through, he might be mustering up trum is a cheesed-up take on “Lonely Bull,” which was cheesy enough in courage for an apology or a tender plea. And when he scales the upper reg- Herb Alpert’s hands, without the pseudo-Ennio Morricone vocal effects isters before lurching into some urgent funk on “Evening Of Mourning and castanets. Neil Sedaka’s “Laughter In The Rain” fares little better for (Ferguson Goddam),” you feel the dismay. A generous leader, Sinton lets the subtle South American vibe that Kevin Moore’s Rhodes and Vince his accompanists score some of the points; Taylor’s intricate drumming Taglieri’s percussion add to it. There’s meatier fare to be found on “Cielito on “Pork Bueno” feels so eager that the listener may feel like they’re right Lindo,” a traditional Mexican song that lets Cole and Moore take wing, next to him at the BBQ take-out window, mouth watering while they and Debussy’s “L’Eclipse De Lune,” which melts like butter in Cole’s horn. wait for their number to be called. And Ajemian’s bowed punctuation of Overall, this has the feel of an early ’60s “easy listening” album—thin “Devoid Of Form, Devoid Of Meaning” communicates the song’s gravi- gruel for someone as skilled as Cole. —James Hale ty every bit as forcefully as the keening saxophone. If this is what “slow learning” sounds like, Sinton should keep on taking his time. —Bill Meyer Latin Lover: If I Only Had A Brain; Cielito Lindo; L’Eclipse De Lune; Lonely Bull; Serenata; Laughter In The Rain; Girl From Carnegie; Harlem Nocturne; Island Breeze; Indicted For Love; Malibu Breeze; Almost Slow Learner: Outside; Can’t Really Say; And Then It Came To Me; Sunday’s Rehearsal; Jimmy; Like Being In Love. (61:18) Evening Of Mourning (Ferguson Goddam); Pork Bueno; Devoid Of Form, Devoid Of Meaning; Left-Side Personnel: Richie Cole, alto saxophone, vocals (4); Eric Susoeff, guitars; Kevin Moore, piano, Fender Paralysis; Fail Beautiful. (47:07) Rhodes; Mark Perna, bass, vocals (4); Vince Taglieri, drums, castanets (4); Rick Matt, baritone saxophone Personnel: Josh Sinton, baritone saxophone, keyboards; Jason Ajemian, bass; Chad Taylor, drums, (4); Nancy Kepner, Jim Barr, George Heid, Tony Goreczny, vocals (4). percussion; Eivind Opsvik, keyboards. Ordering info: markpernamusic.com Ordering info: ilusorecords.bandcamp.com

FEBRUARY 2018 DOWNBEAT 89 Historical / BY BILL MEYER

Where Improvisation Met Composition Nessa Records, which released some of the earliest records by members of the Associ- ation for the Advancement of Creative Mu- sicians (AACM) as well as more traditional

efforts by Ben Webster and Von Freeman, NAOMI KREMER has turned 50. The Chicago Jazz Festival celebrated the event last summer, and now the label, which relocated to Michigan many years ago, is honoring its landmark anniversary by rereleasing its first LP on CD. Numbers 1 & 2 (Nessa; 46:45 ++++½) is credited to , but it was a tru- Dave Bennett ly collective effort by the future members Blood Moon of the —Bowie MACK AVENUE 1126 on trumpet, Roscoe Mitchell and Joseph +++½ Jarman on woodwinds, Malachi Favors on Greg Goodman (left) and John Gruntfest bass and everyone on miscellaneous hand Dave Bennett, who hitched his wagon to Benny percussion. This unique and wide-ranging tor documented Goodman’s encounters Goodman’s star about a decade after his death, music stood apart from anything else that with improvisers from the Bay area and has built a career as one of the master’s most was happening in 1967. Besides flat-out around the world. Goodman has revived faithful avitars. Having cultivated a poised free blowing there are carefully sequenced the label after a nearly 15-year layoff and and polished sound of cool and measured passages that simultaneously honor and returned to its original format, the vinyl serenity, Bennett aligns particularly well with LP. Goodman plays on both LPs. Extract- send up older musical styles, and episodes Goodman’s more settled and relaxed Capitol era of frenetic, absurdist theatrics. The original ing Fish-Bones From The Back Of The of the late ’40s. This lyrical tidiness carries over record contained two edited pieces, each Despoiler (The Beak Doctor; 41.27 the length of an album side. Previous CD ++++) is a previously unreleased duet to Blood Moon, even though its intent seems to iterations as part of the boxed set 1967/68 with English guitarist Derek Bailey that be to moderate the Goodman bond by showcas- and All The Numbers reproduced the entire took place in Eugene, Oregon, in 1992. Bai- ing Bennett as a distinct musical personality. sessions, but the group’s response to time ley, who died in 2005, could be a challeng- Five of the 11 titles are Bennett’s own, four limits back in the day amounted to compo- ing improviser, and he plunges right in by of which are softly introspective pieces whose sitional decisions, so these versions are well segueing from a gentle volume swell to a gentle flutter remains largely in the darker, worth hearing. crab-walking sequence of jagged chords more subterranean range of the clarinet. Their Ordering info: nessarecords.com in the first 20 seconds. Goodman responds low emotional flame directs us more toward the in kind, shifting between low rumbles and A similar understanding of improvisa- welcoming purity of Bennett’s sound than any tion and composition as complementary light, right-hand clusters before putting his specific musical intrigues. The same can be said tools is at work on Roscoe Mitchell Du- hands directly on the piano’s strings. Part ets With Anthony Braxton (Sackville/ of the pleasure in this sort of free improvi- of the various non-Bennett tunes, which sus- Delmark; 43:41 ++++). The original sation comes from hearing how each player tain similarly sullen atmospherics. LP, which was recorded in Toronto in 1976, negotiates the choices between accommo- Yet, in the middle of this meditative recital, devoted one side to each musician’s com- dation, confrontation and simply going Bennet injects three heady shots of adren- positions; this CD edition adds an alternate one’s own way. There’s a bit of each across alin that bring the music sharply to life. At the of Mitchell’s “Seven Behind Nine Ninety this continuous, 41-minute performance, same time, however, they tend to undermine Seven Sixteen Or Seven.” Mitchell’s titles but the engagement between the two mu- Bennett’s declaration of independence from pun on numerology while Braxton’s look sicians never flags. the ghost BG. “Indiana,” with its interpola- Ordering info: thebeakdoctor.bandcamp.com like schematics, but when they’re playing tion of “Donna Lee,” is a swinging powerhouse, together the men realize a collective under- In This Land All The Birds Wore Hats while Bennett’s own “13 Fingers” takes off on a standing as complete and mysterious as a And Spurs (The Beak Doctor; 48:32 shared fraternal handshake. Working with ++++) documents the decade-span- variation of Goodman’s “Nagasaki” intro and a collection of woodwinds that ranges from ning partnership of Goodman and tenor sails into a meticulously phrased, tongue-twist- flutes to contrabass saxophone, the two saxophonist John Gruntfest. Gruntfest is ing sprint. “Honky Tonk” leans toward a New men are absolutely in sync while scrutiniz- a poet and visual artist as well as a musi- Orleans feel, but only slightly removed from the ing abstractions of line and shape as well cian, and this album is presented as an art swing realm. Bennett is a player superbly well as extremes of pitch and attack. But they’re object in a sturdy box with glossy inserts balanced between purity and power, two quali- equally at home executing the staggered and an original painting as well as the LP. ties he shares with Goodman. But they need not steps of Braxton’s madcap march “Compo- The first side includes two pieces from the permanently trap him as a Goodman under- sition 40Q.” ’80s, each of which expresses a meditative, study. —John McDonough Ordering info: delmark.com free-flowing lyricism. Side B is a suite re- In the late ’70s, pianist Greg Goodman corded in 2008. It’s a much more mercurial Blood Moon: Blood Moon; A Long Goodbye; Falling Sky; Halle- lujah; ; (Back Home Again In) Indiana; 13 Fingers; cofounded The Beak Doctor/Metalanguage and pugnacious affair, full of abrupt shifts Down In Honky Tonk Town; The Good The Bad And The Ugly; In Records with guitarist Henry Kaiser and between dueling face-offs and dense, My Life; Heavy Heart. (48:41) Personnel: Dave Bennett, clarinet; Reg Schwager, guitar; ROVA saxophonist Larry Ochs. After each pure-sound meltdowns. DB Dave Restivo, piano; Jim Vivian, bass; Pete Siers, drums; Davide man went his separate way, The Beak Doc- Ordering info: thebeakdoctor.bandcamp.com Direnzo, percussion. Ordering info: mackavenue.com

90 DOWNBEAT FEBRUARY 2018 son Nomar Negroni amplifying on this a few seconds later with 16th notes on closed hi-hat. Guest vocalist Lapiz Conciente follows with a rap that might have been pinched from an arrivals-and-departures speaker in the Times Square station. On the bridge, the brakes slam into a half- time trudge, an extra bar is added and then we’re back to full speed on the verse. This is but one of many examples of two devices Negroni uses effectively: alterations to the structure of the tune and sudden contrasts. Thus, on “El Incomprendido,” having established a mellow texture with a live string quartet, a simmer- ing groove and tasty piano fills behind Pedro Capo’s vocals, he solos with a buzzing analog Negroni’s Trio synth tone—and it feels exactly right for the Marta Sánchez Quintet New Era moment. Danza Imposible SONY MUSIC LATIN 8898 544846 There is so much more to say, especially FRESH SOUND NEW TALENT 533 ++++½ about the trio’s interpretation of “My Love,” ++++ with its lovely articulation of the melody on Jose Negroni has a special ability to discover cello and flugelhorn and perfectly contoured Born and raised in Madrid, Marta Sánchez new insights into what makes each tune unique. string charts. It’s probably the most beauti- made waves in Spain’s jazz scene before relocat- He always begins with the essence of the com- ful treatment this song has ever received, not ing to New York in 2011, courtesy of a Fulbright position, whether the entire work or some ele- excluding the original version. —Bob Doerschuk scholarship. Her training in classical and jazz ment that particularly inspires him. Sometimes finds fruition with her latest unit, which strad- his approach is obvious, though never disap- New Era: Brazilian Love Affair; Sweet Georgie Fame; Isn’t She dles the line between chamber ensemble and Lovely; El Incomprendido (I’m Misunderstood); My Love; Sunny; jazz quintet. pointing: Of course his opening chords and That’s The Way Of The World; Perfidia; Moon River; Take The “A” left-hand ostinato emulate the rhythm of a Train. (54:52) Sánchez’s compositions feature adventur- Personnel: Jose Negroni, piano, keyboards; Josh Allen, bass; whistle blowing and wheels chugging down a Nomar Negroni, drums, percussion. ous use of counterpoint, challenging meters track at the top of “Take The ‘A’ Train,” with his Ordering info: negronistrio.com and the layering of rhythms trickily offset between the front line and rhythm section, all colored with intimate improvisatory interplay. And her frequent use of hocketing—the relayed Tim Armacost dispersion of melodic segments between instru- Time Being ments to create a continuous phrase—is used to WHIRLWIND RECORDINGS 4701 great effect between tenor saxophonist Jerome ++++ Sabbagh and alto saxophonist Roman Filiú. The eight heartfelt compositions transcend Some people say that the most important thing their cerebral methodologies, painting com- about jazz is rhythm, but saxophonist Tim pelling chiaroscuro canvases that are beau- Armacost makes a convincing case for the view tiful, mysterious and restlessly morphing. that it’s time that matters most. As he says in the Strengthening that sound, the quintet mem- liner notes, Time Being evolved out of “the idea bers solo in support of the compositional tex- of people swinging at the same time, but not tures, never stealing focus. together”—in other words, different articula- The young pianist cites a wide range of tions of rhythm locked within a common pulse. inspirations for her compositions, including Given Armacost’s concept, it would be hard some unlikely sources. Case in point is the title to imagine a better pair of collaborators than track, sparked by the rhythmic nature of a dig- Robert Hurst and Jeff “Tain” Watts. Not only ital delay she noticed in an Aphex Twin track. are they a remarkably simpatico bass-and- ance of power, Time Being proceeds to work vari- “Nebulosa” unfolds slowly yet maintains an drums team, but each is virtuosic enough to ations on Armacost’s ideas for interplay. entrancing forward momentum, despite being push their rhythmic conception to the limit Three sonic “sculptures” explore the in-time- rubato throughout. while still maintaining a lock on time. And even but-not-together concept using various rhyth- As in her writing, Sánchez’s soloing favors though pianist David Kikoski sits in on four of mic feels. But the most poignant track is the trio’s lyricism, warmth and a strong sense of story- the album’s 10 tracks, Hurst is generally left in take on Ornette Coleman’s “Lonely Woman,” telling. Although the disc’s metric complexities charge of the harmonic context, an opportunity which not only amplifies its melodic melancholy, may make for an “impossible dance,” listeners he uses to take his ideas in less traditional direc- but underscores a rhythmic tension within its will find themselves swaying and thoroughly tions through the use of strummed double-stops. phrases most musicians miss. —J.D. Considine swept away. —Jeff Potter “Alawain” opens the album with a moodily Time Being: Alawain; Time Being; Sculpture #1: Phase Shift; The Next 20; Teo; Sculpture #2: Tempus Funkit; One And Four; Lonely Danza Imposible: Copa De Luz; Danza Imposible; Scillar; El virtuosic solo by Hurst, and then, after stat- Woman; 53rd Street Theme; Sculpture #3: All The Things You Could Girasol; Board; Nubulosa; Flesh; Junk Food. (41:33) ing the theme, Armacost steps aside as Watts Become In The Large Hadron Collider. (63:55) Personnel: Marta Sánchez, piano; Roman Filiú, alto saxophone; Personnel: Tim Armacost, tenor saxophone; Robert Hurst, bass; Jerome Sabbagh, tenor saxophone; Rick Rosato, bass; Daniel Dor, unleashes a burst of polyrhythmic fury before Jeff “Tain” Watts, drums; David Kikoski, piano (3, 4, 7, 10). drums. the tenor repeats the head. Having set the bal- Ordering info: whirlwindrecordings.com Ordering info: freshsoundrecords.com

FEBRUARY 2018 DOWNBEAT 91 Books / BY EUGENE HOLLEY JR. Meditations on Mingus Charles Mingus was a virtuoso bassist, a Duke Ellington-influenced composer whose compositions eclipsed everything from the ground-truth of the gutbucket blues to the outer limits of the avant-gar- de. He was an artist who wanted his chil- dren—and everybody else—to hear his music, simply on his own terms. His rep- utation as jazz’s “angry man” was well deserved, as evidenced by his legendary assault on trombonist Jimmy Knepper and Uusitalo/Louhivuori/ the night he pulled the piano strings out Sloniker/Blake of the keyboard, to name but two exam- Northbound ples. CAM JAZZ 7917 But as Nichole Rustin-Paschal posits in her fascinating book, The Kind of Man I +++ Am: Jazzmasculinity and the World of Northbound begins in a rather plodding fash- Charles Mingus Jr. (Wesleyan Univer- ion, guest Seamus Blake’s tenor saxophone and sity Press), Mingus possessed a gentle, Tuomo Uusitalo’s piano determinative, the per- even fragile, nurturing spirit, singed by cussive support like a rhythmic clapping board the unrelenting fires of a turbulent world he never made. Rustin-Paschal, who is the or constricted swinging door. As an open- coeditor of Big Ears: Listening for Gender ing number, it seems uneventful but perhaps in Jazz Studies, deconstructs Mingus’ life revealing of what’s to come. and music through the lens of jazzmascu- New York Philharmonic. “Awakening” follows and already there’s a linity: a gender-neutral term that, while Mingus engaged in a lifelong struggle bit more life as bassist Myles Sloniker and not defined in the book in a linear, dictio- to control his music, which played out in Uusitalo interact in a more rhythmically loose, nary-entry fashion, is best described as “a the ’50s with Debut, the he swinging-groove interlude. “Forgotten” finds creatively empowering source for self-ex- co-created with his wife, Celia, and Max the return of Blake surrounded by the trio in pression and political engagement.” Her Roach. Artistically adventurous, with re- what is a highly interactive piece with all four application of the term jazzmen to women leases by Roach, Miles Davis and Oscar members essentially soloing within a ruba- is an extension of jazzmasculinity. Pettiford, and the canonic, live recording The author examines many aspects of Jazz At Massey Hall with Mingus, Dizzy to-laden improv. Everything is sandwiched Mingus’ art and influence, from the 1979 Gillespie, Charlie Parker, Roach and Bud with a modest theme and theme restatement, all LP Mingus, his collaboration with Joni Powell, Mingus learned the hard way that of it consistent with the slow-to-medium tem- Mitchell, to Mingus/Mingus: Two Memoirs, running a record label while functioning pos and subdued moods already established. by and Janet Coleman. Her most as a working musician was an impossible That all changes with the aptly titled expansive writing is on Mingus’ notorious square to circle. To the extent that Debut “Rumble,” starting off with drummer Olavi 1971 autobiography/memoir, Beneath the enjoyed a modicum of success was, as Louhivuori pitter-patting with hands across the Underdog, with its outrageous passag- Rustin-Paschal makes clear, largely due skins of his drum heads. It’s a fervid little solo es on race and sex, the shady side of the to Celia. “Her embrace of jazzmasculinity juncture that’s followed by something called jazz business, psychotherapy and mar- fostered the interpersonal relationships “Song For Mr Moorhead,” a piece that could be riage. In BTU, Rustin-Paschal highlights that sustained Debut as an aesthetic and Mingus’ dark and twisty recollections of commercial enterprise,” she writes. a part two to “Forgotten,” the group’s approach growing up in South Central Los Angeles Rustin-Paschal constructs a powerful to pulse akin to early Ornette Coleman or Keith as a shy, light-skinned son of a tough, portrait of Hazel Scott, the glamorous and Jarrett’s group with Dewey Redman. The music Caucasian-looking Army father, and his technically brilliant pianist who record- remains melodic to the core but dwells more in struggles as a black musician in his home- ed Relaxed Piano Moods on Debut, with the group vibe with what’s clearly a worked-out town, San Francisco and New York, creat- Mingus and Roach, married the Harlem esthetic within a integrated group sound. ing a new type of jazz prose in the process. congressman Adam Clayton Powell and “Burst” is straightahead swing, the impro- “Composing the memoir over the course was blacklisted as a Communist for her vising by the piano trio ending in a subdued of more than a decade,” Rustin-Paschal outspoken support of civil rights. That collapse before the final number, “The Aisle,” writes, “Mingus expands the boundaries Mingus signed her to his label shows that the album’s most songful piece. Blake’s soloing of feeling in jazz autobiography by em- long before it was popular, he created “an bracing uncertainty, multiplicity, and vul- opening for female jazzmen—like myself, beyond the theme pulls the music into a gen- nerability.” Rustin-Paschal also chronicles like Hazel Scott, like Celia Mingus—to ac- tle atonality even as the trio continues its steady how Los Angeles shaped him, including knowledge why we continue to love jazz march towards song’s end. —John Ephland the crucial mentoring Mingus received and jazzmen,” the author writes, “even Northbound: Counterparts; Awakening; Forgotten; Rumble; from local legends including Buddy Col- when our experiences are often marginal- Song For Mr Moorhead; Quietus; Gomez Palacio; Focus; Pablo’s Insomnia; Burst; The Aisle. (39:31) lette, Lloyd Reese and Herman Reinsha- ized.” DB Personnel: Tuomo Uusitalo, piano; Myles Sloniker, bass; Olavi gen, the former principal bassist with the Ordering info: wesleyan.edu/wespress Louhivuori, drums; Seamus Blake, tenor saxophone. Ordering info: camjazz.com

92 DOWNBEAT FEBRUARY 2018 Borderlands Trio Asteroidea Standards INTAKT 295 REPUBLIC ++++ +++ The Borderlands Trio—pianist Kris Contrary to expectations, pop stars’ Davis, bassist Stephan Crump and standards-with-studio-orches- drummer Eric McPherson—is a tra albums entail more caveats band that revels in gestural detail, than those by moonlighting actors. rhythmic repetition and drama. Singers have already cultivated Songs like “Flockwork” bump and musical personas that make the rumble forward, with Davis’ muted, Songbook a tough sell even for those repeating figures sounding almost electronic. Full choruses may be with the technique for it. English soulster Seal’s “Kiss From A Rose” per- nothing more than a single drumstick striking a snare rim. sona is sensitive, passionate, somewhat melancholy, but cerebral. That With minimalism on this level, how the parts fit together is critical to gives him an outwardly clearer path on standards than, say, Lady Gaga; keep things from sounding like mere experimentation with no goal. it also prevents total success. Fortunately, Davis, Crump and McPherson are highly attuned listeners Can that nuance, plus his unquestionable rhythmic and melodic who share the common purpose of not allowing their music to remain chops, help him carry off a lyric like “Stick with me, baby, I’m the fella static, even when stasis is being used as a momentary device. So, when you came in with”? Well, no. More than swing, soul and a pretty voice, the sonic stage is reduced to just three dampened piano keys and a single “Luck Be A Lady” needs a machismo that Seal doesn’t wear well. Still bass note, things appear to be moving somewhere. more out of place is “I Put A Spell On You.” “Autumn Leaves,” on the The 26-minute title piece is all tension, no release. Urgency and other hand, was made for Seal. He lends it a delicacy that fits both the motion are generated through repetition and subtle dynamic shifts. opening plaintive piano and the later lush strings, and the touch of grav- When Crump’s walking bass line emerges, the contrast to the spare sur- el in his voice amplifies the poignancy. He also lands a bossa rendition of roundings makes it seem like an orchestra in flight. “Love For Sale” with all its emotional facets, and Irma Thomas’s swelling Appropriately, only the 2-minute “Carnaval Hill” expands the sound “Anyone Who Knows What Love Is.” —Michael J. West palette, with Davis making pianistic forays and filigrees, the equivalent of a minimalist pun. —James Hale Standards: Luck Be A Lady; Autumn Leaves; I Put A Spell On You; They Can’t Take That Away From Me; Anyone Who Knows What Love Is; Love For Sale; My Funny Valentine; I’ve Got You Under My Skin; Asteroidea: Borderlands; Carnaval Hill; Flockwork; Ochre; Body Waves; From Polliwogs. (52:42) Smile; I’m Beginning to See the Light; It Was A Very Good Year; The Nearness Of You. (49:40) Personnel: Kris Davis, piano; Stephan Crump, bass; Eric McPherson, drums. Personnel: Seal, vocals; Randy Waldman, piano; Chuck Berghofer, bass; Greg Fields, drums. Ordering info: intaktrec.ch Ordering info: republicrecords.com

Debbie Poryes Trio Philipp Gerschlauer/ Loving Hank David Fiuczynski OA2 22146 Mikrojazz! ++++ RARE NOISE RECORDS Debbie Poryes, long based in the San ++ Francisco area, is a talented modern German alto saxophonist Philipp mainstream pianist. On her recent Gerschlauer and American fretless trio album, an homage to Hank guitarist David Fiuczynski have cre- Jones (1918–2010), she sometimes ated a quintet dedicated to micro- sounds a bit like McCoy Tyner and tonal techniques, bringing in bass- displays the influence of ist Matt Garrison and drummer in some of her chord voicings and her close interplay with bassist Peter Jack DeJohnette. Opener “MikroSteps” is very together structurally, Barshay. However, she mostly sounds very much like herself. but unpleasantly “off” in its chosen tonal universe. This incarnation of While the picturesque “Loving Hank” utilizes flugelhornist Erik microtonality goes further than most excursions. Whereas artists such as Jekabson in the ensemble, the remainder of this project is a mixture Harry Partch, Joe Maneri, LaMonte Young, countless bluesmen, Indian of standards and originals performed by her trio with Barshay and classicists and Hawaiian sliders all produce naturally organic microtonal drummer David Rokeach. The familiar tunes, such as “How About sounds, this quintet takes the approach so far that it becomes disturbing. You,” “Autumn In New York” and Joni Mitchell’s “Both Sides Now,” Fiuczynski begins with what’s almost a conventional solo, but derails are reharmonized and modernized a bit without losing their essence. when the pitches begin to wiggle. Garrison’s fretless bass sounds less rad- “Confirmation” is a joy, showing that Poryes can play bebop quite well. ically detuned, and this only adds to the disorientation. Of the originals, the energetic “The Wish,” the downbeat ballad Ultimately, microtonal techniques are probably best suited to com- “Tears We’ve Shed” and the complex “Tossing, Turning” are particularly pletely free improvisation, where all other governing rules are also sus- memorable. Due to the mood and tempo variations, along with the con- pended. Instead of completely creating their own bold new universe, this sistently inventive piano solos, Loving Hank holds one’s interest through- quintet is sticking with most of the other “rules” of jazz, and only being out. This is one of Poryes’ finest recordings to date. —Scott Yanow selectively revolutionary. —Martin Longley

Loving Hank: Loving Hank; Both Sides Now; How About You; Phrases Of The Moon; The Wish; Con- Mikrojazz!: Neue Expressionistische Musik: MikroSteps; Für Mary Wigman; Lullaby Nightmare; firmation; Tears We’ve Shed; All Of You; Our Star; Autumn In New York; Tossing, Turning; Wonderful MiCrOY Tyner; Umarmung; Last Chance; November; Hangover; LaMonte’s Gamelan Jam; Walking Not Day. (54:24) Flying; Sofia Im Türkischen Café; Zirkus Macabre. (64:00) Personnel: Debbie Poryes, piano; Peter Barshay, bass; David Rokeach, drums; Erik Jekabson, Personnel: Philipp Gerschlauer, alto saxophone; David Fiuczynski, guitars; Giorgi Mikadze, microtonal flugelhorn (1). keyboards; Matt Garrison, fretless bass; Jack DeJohnette, drums. Ordering info: originarts.com Ordering info: rarenoiserecords.com

FEBRUARY 2018 DOWNBEAT 93 94 DOWNBEAT FEBRUARY 2018 96 | AFFORDABLE MICS & OUTBOARD GEAR

104 | TRANSCRIPTION Benny Golson

106 | TOOLSHED

108 | GEARBOX

FEBRUARY 2018 DOWNBEAT 95 Brian Landrus (Photo by Vince Segalla) Over the past 30 years, major changes in the music industry have affected nearly every aspect of its creation, distribution and consumption. Gone are expensive high-fidelity sound systems, now replaced by smartphones, tablets and computers downloading or streaming compressed MP3 audio.

Large commercial recording facili- digital recording revolution occurred in 1992 time. We are now seeing a new crop of bud- ties are fading away as musicians shift toward when Alesis introduced its ADAT record- get-friendly gear coming out of China that’s of home recording and small project studios. er, offering multitrack recording at a consum- significantly higher quality. This metamorpho- Drastic reductions in the cost of digital record- er-friendly price. That same year Pro Tools sis can be attributed to several factors. In today’s ing gear have made multitrack recording, once was also released by Avid, but its high price tag global market, it’s much easier for companies to the exclusive domain of the professional studio, made it affordable to professional studios only. work closely with Asian factories, gaining more accessible to an entirely new market. Eventually market competition did drive the manufacturing control and maintaining tighter But the market quickly realized that even cost of digital audio workstation (DAW) soft- quality tolerances. Also, with years of experience with all these digital tools, producing a quality ware down to the point where today Apple’s behind them, both the factories and the compa- recording still required good microphones, pre- GarageBand app is free to Mac/iOS users. With nies that work with them have become much bet- amps and outboard processors—all of which an expanding market of budget-conscious ter at what they do. The availability of affordable amount to a serious cash outlay. However, in users, audio manufacturers responded by offer- quality microphones and analog audio gear is recent years such products have been under- ing low-cost microphones produced mostly in currently exploding, and we are now at a “golden going a major evolution, and there are now China. With few exceptions, this first wave of age” in the market with a mind-numbing amount numerous companies producing high-quality, overseas audio products fell short of expecta- of amazing products—including original designs professional-grade studio gear at surprisingly tions, leaving a long-lasting prejudice against and clones of vintage units—priced below $1,000. affordable prices. Asian-manufactured analog recording gear. To learn more about this trend, we spoke with sev- One of the most significant events in the The industry has come a long way since that eral innovative pro audio manufacturers.

96 DOWNBEAT FEBRUARY 2018 Miktek Audio Lauten Audio Mojave Audio Right from the start, microphone manu- Solidly focused on designing and building Considering that industry guru David facturer Miktek Audio decided to avoid the unique microphones, Lauten Audio offers both Royer designs its microphones, Mojave Audio clone route and create something complete- a high-end signature line and its less expensive is a company with a very impressive pedigree. ly unique instead. The company produc- LA line featuring offerings priced below $500. According to Dusty Wakeman, president of es a variety of studio microphones, with the Lauten manufactures its LA line in China and Mojave Audio, the company was founded in MK300 condenser being the least expensive. also utilize all-Chinese components. order to bring Royer’s designs to market at an Most of Miktek’s microphones are assembled According to Brian A. Loudenslager, affordable price. in Nashville, Tennessee, but the MK300 is the founder of Lauten Audio, the company has been With a line of mics that range from $695 up first one to be built in China using all over- able to locate Chinese suppliers that are equiv- to $2,795, Mojave decided it needed to pro- seas-made components. alent to, if not better than, domestic ones. Prior duce something under $500. To meet this chal- Mike Ketchell, owner of Miktek Audio, to launching Lauten, Loudenslager worked in lenge, Mojave Audio manufactures all of its has confidence in China’s ability to pro- the industry as a consultant helping compa- under-$1,000 mics, including the MA-50 large duce a quality product, and points out that nies with overseas manufacturing. This expe- diaphragm condenser, in China using many the region’s factories have gotten much rience was key in Lauten developing solid rela- quality components from the United States. more sophisticated in recent years. He also tionships with factories and suppliers in China. “Anything you can hear, we source in the U.S.,” observes that young customers today are Loudenslager says that Chinese manufacturers Wakeman says. Wakeman says he feels confi- much less concerned with where a product were always good at copying and building, but dent that Chinese manufacturing has improved is manufactured and focus more on its value. not designing, and there was no one providing and become easier to manage in recent years. Miktek designs and builds all of its mics design and component-level direction to them. Mojave Audio credits its use of premium from the ground up, including the metal- Lauten supplies unique designs to its facto- components, plus the fact that David Royer work. Ketchell points to the quality of the ries and allows them to do what they do best: actually listens to every mic the company company’s components, particularly the build it. Loudenslager points out how China builds, as critical to its success. In Wakeman’s capsule, head amp and transformer, which has opened its doors and evolved over the years view, the market is thriving, and the fact that are critical to getting a world-class sound. but warns that due to a rapidly rising mid- recording interfaces have become so much more Sourcing to China, keeping margins rea- dle class, China is no longer cheap. He com- affordable means that customers now have more sonable and exploring new technologies and pares this to a similar scenario that occurred money available to purchase several micro- better options for manufacturing are all key in Japan after World War II. Along with exten- phones. Looking down the road, Wakeman pre- factors in Miktek’s ability to control costs. sive knowledge of Chinese manufacturing, dicts that manufacturing in China will only get According to Ketchell, low-cost DAW record- Loudenslager feels that having a physicist on more expensive, and the cost of good compo- ing has helped to create demand for these staff for capsule design and partnering with nents will limit how inexpensively a good prod- products. When asked whether the trend of good engineers have helped Lauten stand apart uct can be produced. producing inexpensive studio-quality micro- from the competition. phones has hit its peak, he responds that “cost has hit its peak, but quality has not.” sE Electronics Blue Microphones Audio Technica When sE Electronics chose to locate its Blue Microphones got its start designing Audio Technica has been a major player in the factory in Shanghai, it was more than just an and building studio condenser mics that look industry for 60 years, with a wide array of prod- economical decision. It’s a proud part of the as great as they sound. Known for innovative ucts for the professional and consumer markets. company’s heritage. design and catchy product names, the compa- The company broke new ground when it intro- Founded by a Chinese American, sE ny has expanded from its pro-audio roots into duced the AT4033 condenser microphone in Electronics was an early contender in the the consumer market, making a huge splash 1990, offering professional-level studio quality booming microphone market, introducing with its Snowball and Yeti USB microphones, for an unheard of $399 price tag. one the industry’s first affordable condensers, and more recently with versatile models like Over the years, Audio-Technica has expand- the sE2200, in 2003. With strong ties in China, the Bluebird and Bluebird SL large diaphragm ed its microphone line considerably, with selec- sE Electronics produces its product line in condensers. tions ranging from $99 up to $3,499. According its own dedicated factory using high-quali- Blue does hand-build some of its profes- to Gary Boss, marketing director for profession- ty Chinese components, including capsules. sional mics in the United States, but its USB al products, Audio Technica manufactures its According to Chris Dauray, brand manager of line is manufactured overseas. According to microphones in one of three locations: Japan, sE Electronics, “Every capsule is built by hand, John Maier, CEO, Blue designs every product Taiwan and China. The company has been active and our ribbons are all hand-tensioned.” with the end user in mind. Focusing on exact- in the USB market with several mics, including sE Electronics design its products with ly what is needed and what is not allows the the AT2020 USBi high-resolution condenser, production in mind, constantly re-evaluat- company to create the right solution and offer which was launched as a music-creation tool but ing and tweaking the process to achieve maxi- it at the right price point for the customer. has since become popular with podcasters and mum efficiency. Dauray says that not spending Blue works closely with its outside part- streamers. a lot of money on marketing and packaging— ners to source the best components, order- Audio-Technica keeps costs low by utilizing relying mainly on the Internet and word of ing in high enough quantities to reduce costs. similar housings on several of its models, allow- mouth—has been a cost-saver for the compa- Maier, like many others, sees the plummet- ing for more focus on the internals. As Boss says, ny, along with working in large volumes and ing cost of recording as a driving factor in “Put the money on the inside where it matters, batch production. Dauray predicts that dig- this market. He says he thinks that the trend not on the outside.” Boss says that as a Japanese ital audio products will continue to drop in toward cheaper and better has not yet hit its company, Audio-Technica’s relationships with cost, but he sees a limit to that when it comes peak, but with inevitably rising costs it will overseas factories have always been strong. The to analog gear. definitely be slowing down. company maintains extremely rigorous quality control on all of its mics and manufactures all of its own proprietary components.

98 DOWNBEAT FEBRUARY 2018 Golden Age Project over the originals. Anzaldua claims that Warm a piece of vintage gear can’t be accomplished Bo Medin may not have been the first person Audio can get about 90 percent of the way there in by simply using the exact same components as with the idea of creating clones, or replicas, of emulating vintage processors and microphones. the original. He points out that some compo- classic analog gear. But he was certainly the first Anzaldua said he believes that the trend nents are not available today and others are not to offer one at the unheard of price of $299. As toward higher quality at lower prices will continue made the way they used to be. A simple copy owner of Golden Age Music, Medin was a true for the foreseeable future. “I feel like there is a lot would therefore not sound the same as the orig- pioneer who showed us all what could be accom- of untapped potential,” he said. With the popular- inal, and Stam Audio prides itself on selecting plished with the proper components, a good over- ity of home recording still on the rise, Anzaldua the perfect combination of quality components seas factory and some smart business acumen. predicts continued market growth. He observes in order to achieve a sound as close to the orig- In 2008, Golden Age released its Pre-73 that the proliferation of software plug-ins is help- inal as possible. microphone preamp, based on the preamp section ing drive his business as many users grow tired The company is based in Chile, and products of the legendary Neve 1073 console, and immedi- of software emulation and realize the benefits of are manufactured in both China and Chile. ately received high praise for its surprisingly good recording with actual analog hardware. Microphones are all hand-made in Chile, while quality. (Golden Age has since issued the Pre-73 China handles mainly assembly tasks on the MKII and Pre-73 MKIII.) Medin says that manu- Apogee Electronics outboard items like the SA-2A compressor (a facturing in China and producing in large quanti- Apogee originally made its mark in profes- Teletronix LA-2A clone) using components ties are factors that help keep costs down. He also sional audio with high-end analog-to-digital imported from the United States and Europe. utilizes what he calls “sensible cost-cutting mea- (A/D) and digital-to-analog (D/A) converters. The units are then sent to Chile for final tweak- sures,” which means that he’s only willing to uti- The company later expanded into mobile record- ing and testing. This hybrid approach of using lize less expensive parts if they don’t impact the ing interfaces and eventually introduced the MiC Chinese labor, but not Chinese components— quality of the audio. He prefers to put money Plus USB microphone, which is partially manu- something that would not have been possible in where it counts in order to produce great-sound- factured in China, with all assembly completed in the past—is a big part of Stam’s success. ing products that are extremely affordable. the United States. Joshua Stam points out that free trade agree- Golden Age now offers a full line of outboard According to Sean McArthur, director of ments, buying in bulk and direct marketing of gear and microphones, and although Medin marketing and product industrial designer at his products are key factors for him. He spends does not consider himself a clone manufacturer, Apogee, this was a natural step for a company with very little on marketing and works with small many of his designs are based on classic vintage a 30-year background in conversion. Although margins in order to keep costs down. Stam also outboard processors. He says that the ability to $249.99 is not a hefty price for a decent stu- notes that expiring patents on vintage audio produce this level of quality on a budget is made dio-quality condenser, McArthur points out that gear have helped drive the cloning market, since possible by a number of converging factors: “It in the USB market, where users are used to pay- many of these designs are now public domain. was simply time for this to happen.” ing under $100, this is actually a fairly expensive product. McArthur says he feels that the superior Still Trending Warm Audio sound quality justifies the price and that Apogee is Although each of these companies offers its Warm Audio produces what it calls modern set on offering the best mic in this category. own unique perspective on the market and fol- reproductions of studio classics, and like many The trend toward mobile recording is an obvi- lows a slightly different path, there are some manufacturers, the company takes inspiration ous factor in the growing demand for USB micro- things they all seem to agree on. The reduced cost from vintage 1960s and ’70s microphones and phones, and McArthur adds that for users with of recording is the most significant factor in cre- outboard gear. multiple devices, cross-platform compatibility ating demand for these products, and the mar- According to Antonio Anzaldua, logistics is crucial. Podcasting is another expanding seg- ket is still expanding. The reason we are now and quality control manager, Warm Audio’s prod- ment that is helping this market thrive. Apogee seeing so much affordable quality gear is attribut- ucts are assembled in China using only premium sees competition as well as technological advance- able to a combination of market demand, smart- non-Chinese components. This use of boutique ments and the decrease in component cost due to er business practices and a major evolution in components in Chinese-built audio products is mass manufacturing as enablers in offering inex- Chinese manufacturing, which has dramatical- definitely a rising trend. Anzaldua says that order- pensive products. ly improved the level of quality produced there. ing in large quantities and packing in small boxes It is also apparent that the cost of working with are some of the ways Warm Audio keeps pric- Stam Audio Chinese factories is rising rapidly, and many feel es reasonable. He also says that items such as the Stam Audio was founded in 2014 with a mis- that we have hit a plateau for quality versus price. WA-2A compressor (a Teletronix LA-2A clone) sion to recreate some of the world’s most iconic So, is this price race to the bottom nearly are not 100-percent reproductions, noting that classic audio gear from the 1960s and 1970s and over? Only time will tell. But one thing’s for cer- a true clone would be too expensive to build and offer it at a great price. tain: This is a really great time to buy new record- Warm Audio even makes a few improvements According to President Joshua Stam, cloning ing gear. DB

FEBRUARY 2018 DOWNBEAT 99 MASTER CLASS Woodshed BY BRIAN LANDRUS VINCE SEGALLA

Brian Landrus It Takes a Team: Studio Professionals on Recording Large Jazz Ensembles hen I set out to record my 2017 family, has extensive experience recording large the ambient room mics. Walbum Generations (BlueLand ensembles. I asked engineer Mike Marciano “Drum leakage was a big concern. Having Records) with the Brian Landrus to talk about the recording techniques he used eight strings in the same room with drum- Jazz Orchestra, I took the strategy of surround- during the Generations sessions: mers who aren’t afraid to hit is a concern for ing myself with artists who have unique, devel- the sound of the strings. Obviously, we wanted oped and specialized voices. This includes not Mike Marciano, Recording Engineer a lush, natural string tone, and if you have a lot just the musicians, but also the producers and “I like to position certain instruments or of drums bleeding onto the string mics, you’ll engineers who contributed to this large-scale groups of instruments according to their prox- have to alter the string sound later with equal- project. imity to the drums. Leakage (or bleed) between ization or digital plug-ins. This can be useful in I learned a long time ago to always hire the instruments is a big concern with a large setup. trying to eliminate the ambient sound of the best people. They raise the level of our game We want to capture the natural balance of the drums. However, it should be avoided because and teach us by example what needs to be ensemble in the room. There are instruments this can hurt the natural drum and string done, and how to improve. I invited many lead- that can overpower others, depending on their sound. Of course, there’s a place for equaliza- ing musicians to join our team, and I asked position, and this can hurt the overall sound. tion and plug-ins, but again, it shouldn’t be my engineers and producers to provide infor- An incorrect balance in the room can’t always heavily used to solve a problem. Instead, these mation that would help us achieve our goals. be fixed adequately in the mix. The opposite is problems can be avoided simply by correct Ultimately, Generations is a success because of true with the correct placement of musicians placement of instruments, correct mic selection the amazing and specialized professionals who and natural balance in the room. With the cor- and correct miking techniques. were involved. rect balance, a beautiful sound can be captured “I added a little extra isolation to the drum It’s rare to find a studio large enough to with only a stereo pair of high-quality mics. kit by adding a few extra-tall baffles with blan- record a 25-piece orchestra. But Systems Two, a Once the ensemble starts running their parts kets draped from the roof of the drum booth to large studio in Brooklyn owned by the Marciano down, we play around with the placement of the baffles. I did this because, with 23 addition-

100 DOWNBEAT FEBRUARY 2018 al musicians in the room, I wanted to keep the Mike Marciano (foreground), liveness of the drums controllable. The setup recording engineer for Generations. in the room for Brian had the brass and string sections facing the drums. The harp was posi- VINCE SEGALLA tioned on the opposite side of the room in rela- tionship to the drums because of its natural- ly low level. We decided to put the vibes in an isolation booth because the strong level of the vibes can be a little overpowering at times. “Capturing the natural sound with a pair of room mics is great, but you will most like- ly need additional spot mics to fix any bal- ance problems. The mics that I used for spot mics were set in a cardioid pickup pattern. That means that the mics pick up sound most- ly from the front. Spot mics are very important in this type of recording. The only concern with using so many microphones is phase. When sound is picked up at different times by multi- ple mics, the sound can be out of phase. This happens because sound waves can get canceled out when the sound source hits multiple mics at slightly different times. This causes a loss of low end and brings hollowness to the sound. Correct phase can be achieved by moving mics into different positions to avoid this sound can- cellation. When using headphones, the balance can find a concert hall with a great acoustic, ARF! Mastering in New York is another cre- a musician has in their headphones affects their set up the band like an orchestra, put up some- ative force in the industry. Here is what he had dynamics. Sometimes this makes them either where between three and five microphones to say about mastering this project: underplay or overplay dynamically. With spot and record it like a classical piece. Using Billy “We were thrilled when Brian asked us to mics, balances can be adjusted. Also, if there Hart and Justin Brown on drums and Lonnie work with him on the final, critical step of pro- is a great performance and there’s a bad note Plaxico and Jay Anderson on bass makes this ducing a record—the mastering. It’s a myste- or incorrect timing, it can be fixed. With the an iffy approach, since the drums can over- rious craft—the compositions, performanc- ensembles’ mics facing away from the drums, power the acoustic bass and muddy the clari- es and mixes are all in place, yet by refining a the mics will naturally reject a lot of unwant- ty of the recording, and the bass ends up get- recording’s tonal balance and dynamics we can ed leakage. This saves a great deal of work later ting ‘lost in the sauce.’ Another approach would bring the listener much closer to the soul of the when mixing. be to map out the tempos, make a click track music. It’s entirely a “feel” thing. Artists hear it “The string section mics I used were for each tune and lay everything down in sec- and, when it’s successful, can rediscover their Neumann Km184s for the violins and violas, tions, starting with the rhythm section, then own work.” and vintage Neumann u47s for and overdubbing winds in another pass, brass in celli. I chose the 184s because they sound great yet another overdub and then strings in a third Frank Carlberg, Co-Producer on strings but also have excellent sound rejec- overdub. This approach yields a great deal of As the leader, I knew that both days in the tion. For the ensemble, we used a nice mixture sonic control as well as control over the accu- studio I wanted to be a player and not have to of vintage ribbon, tube and condenser mics. racy of the playing. The major disadvantage is worry about the behind-the-scenes mechan- We used a combination of RCA 77s; Neumann the loss of spontaneity and musical interaction, ics. So I asked Frank Carlberg and Robert um57s, u67s, u87s and km86s; and vintage since everyone is playing to a click instead of all Aldridge to co-produce the album with me. AKG 414s. Using the right mic for the right together as an ensemble. Carlberg always hears the big picture in a proj- instrument captures the natural sound and “It was clear from the beginning that nei- ect and can see through the minuscule issues eliminates the need for equalization. Because ther a standard orchestral approach with min- that may seem on the surface to be a problem of our planning we really didn’t have to move imal microphones nor a record-in-sections while tracking. He has excellent advice for pro- anyone’s position, which of course saved a lot of approach would work. Brian wanted the play- ducing large ensembles in the studio: time. This allowed us to focus solely on the per- ers to interact with each other and use their “Besides being an artistic sounding board, formance itself.” considerable skills as ensemble and improvis- many of the producer’s responsibilities are ing players to create music together without practical in nature. He/she can make small or John Kilgore, Mixing Engineer being bound by a click. This had to be record- large musical suggestions, and mediate con- Generations’ mixing engineer was John ed in a room large enough to accommodate flicts so that the session can stay on course. Kilgore, of John Kilgore Sound & Recording in the entire ensemble, with good isolation for the Especially in large ensemble recordings, he/she Manhattan. His mix helped bring out the clar- drums and bass, as well as the vibes and harp. needs to check the score in the control room to ity of this unique ensemble. I asked Kilgore to That made Systems Two in Brooklyn, the obvi- make sure that everything is played correctly. share some advice for artists undertaking a ous choice. When does a take feel ‘right’? That is often best large ensemble recording of this nature: gauged by the producer in the control room. “There are a number of ways to record a Alan Silverman, Mastering Engineer “I prefer not stopping, but rather to keep large ensemble like the one on Generations. You Mastering engineer Alan Silverman from moving through multiple takes. Multi-day ses-

FEBRUARY 2018 DOWNBEAT 101 VINCE SEGALLA VINCE SEGALLA

Generations co-producers Bob Aldridge (left) and Frank Carlberg join engineer Marciano behind the recording console. sions give you the added flexibility of evaluating takes between studio sessions rather than during them. The end of the last day is also often the best time to do overdubs and fixes. At that point you are not concerned anymore about the flow of the session in terms of tracking new material.

Bob Aldridge, Co-Producer Bob Aldridge is a Grammy-winning opera The 25-piece Brian Landrus Jazz Orchestra records Generations at Systems 2 in early 2017. composer and head of composition at Rutgers University, where I am currently adjunct faculty ular music, jazz and classical settings. This is ative and brilliant artists. The recording was suc- and finishing a Ph.D. in classical composition. important so that the rhythmic feel of the play- cessful because of the great number of experts An excellent orchestrator, Aldridge helped me ers has cohesion and fluidity in the linguistic involved who make it stronger, and honest. tremendously when finalizing all the scores. He dialect. Being able to swing is a necessity that In addition to myself, bassists Anderson gave me ideas on how to bring clarity and pre- many strictly orchestral players are uncomfort- and Plaxico, and drummers Hart and cision to the music. He was also a perfect fit to able with. Rhythm, in general, is not the stron- Brown, the following musicians appear on counterbalance the artistic dynamic in the stu- gest aspect of many string players. Generations: woodwind players Jamie Baum, dio as a producer. Aldridge said of the session: Composing for strings is daunting at first, Tom Christensen, Darryl Harper, Michael “Brian started bringing me scores for the and this is partly due to the vast techniques Rabinowitz and Alden Banta; brass players CD two years ago, in 2015. Mind you, these available to the composer. After the music was Debbie Schmidt, Ralph Alessi, Igmar Thomas, were not jazz charts; they were concert scores, completed, I chose to ask violin virtuoso Mark Alan Ferber and Marcus Rojas; vibraphon- written in full score for the conductor. I actual- Feldman to add the bowings for the violins and ist Joe Locke; harpist Brandee Younger; and a ly added very little to the compositions, which violas. Bowings are an important component to string section of Mark Feldman, Sara Caswell, were already superb and in Brian’s unique voice. string composition, and simple phrase mark- Joyce Hammann, Meg Okura, Lois Martin, Since Brian had never written for orchestral ings can guide the player in what direction Nora Krohn, Jody Redhage and Maria Jeffers. forces before, I was able to advise him on re-or- you want. The extremely talented cellist Jody This dedicated team was unified in making chestrating some parts, adding doublings and Redhage Ferber added the bowings for the celli, this unusual project as beautiful and powerful that kind of technical detail.” which were significantly different than the vio- as it had the potential to be. DB lins and viola since I often orchestrated them String Solutions with many of the low-register instruments. Brian Landrus is a baritone saxophonist and low-woodwind Something to be very aware of when hiring specialist based in New York. In addition to leading his own Experts All projects, he has performed with , Ryan musicians for your project is to use artists who Truesdell, , Rufus Reid, Danilo Pérez, Frank are comfortable with the genre(s) you’re work- Generations was the culmination of my life Kimbrough, Gary Smulyan, Maria Schneider, The Temptations, The Four Tops, Martha Reeves, George Garzone, Bob Moses, ing within. I chose to use string players who experiences up to now, and I feel blessed to have Lewis Nash, Jerry Bergonzi, Alan Ferber, Uri Caine and Ralph were all improvisers, and who work in pop- been surrounded and supported by these cre- Alessi, among others. Visit him online at brianlandrus.com.

102 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 103 SOLO Woodshed BY JIMI DURSO

ing easier) and even some odd ones, like quin- tuplets (5, 18) and septuplets (12, 27), though these come off more like he’s just cramming a bunch of notes into a beat and ends up with an odd number. DOWNBEAT ARCHIVES What’s even more interesting is how Golson shifts back and forth. In many of the transcrip- tions we’ve presented in this column, the solo- ist will start slowly and then increase the energy by playing denser rhythmic subdivisions as the solo progresses. Golson goes against conven- tion in this regard, as well. We hear him going back and forth between rhythmic subdivisions and inserting rests throughout this solo. But is he really defying the typical? Though it may seem as if he is keeping the energy up from start to finish, his rhythmic choices help create shifts in energy. Take his use of eighth notes: After bar 18, they basically dis- appear (except for the beginning of measure 33, almost the end of Golson’s solo). And the 16th-note triplets don’t appear until measure 12, and here they are only hinted at. Another pair appears three bars later, and then more fre- quently in measures 19–21. In bars 25–27 they become more prominent, and then drop out again, surfacing just three more times for the remainder of this improvisation. A similar thing happens with 32nd notes. These are introduced later than the 16th-note triplets (measure 20) and occur sporadical- ly throughout the next 11 bars, vanishing after measure 31 (a couple of bars before the eighth notes reappear). So even though all those 16th notes create a sense of intensity throughout Golson’s improvisation, his use of the smaller and larger subdivisions do create an intensifica- tion and decrease in energy—very subtle.

Benny Golson Another contrast Golson employs is between “inside” and “outside” playing. Similar to his use of rhythmic subdivisions, most of Benny Golson’s Tenor Saxophone Golson’s playing is “inside," using arpeggios and scales related to the chords. But he does use some more “outside” playing, judiciously at Solo on ‘Along Came Betty’ first, but intensifying it as the solo progresses. o many of Benny Golson’s songs have bining swing and straight feels, especially at the The first chromaticism we hear is in bars 5 Sbecome standards. Such notables as 16th-note level. Swinging 16ths (or double-tim- and 7, though these hardly count as they are his hit “Killer Joe,” the seminal ballad ing, as it’s sometimes called, since the soloist is just chromatic lines connecting chord tones. “I Remember Clifford” and many others are swinging at twice the rate of the rhythm sec- But that’s exactly the point: Golson isn’t hitting still performed to this day. His compositions tion) is a trick that’s been around at least since us upside the head with “outside” playing, but are such classics that we can sometimes forget Charlie Parker, but Golson tends to play his slowly bringing our ear to these sounds, intro- what a fantastic tenor saxophonist he is. Here’s 16ths straight, going against convention. There ducing them subtly. Case in point is the final his solo on “Along Came Betty,” another of are instances, such as bars 21 and 25, where he beat-and-a-half of measure 10. Though these his songs that has become an essential part of does swing the 16th (written as 16th-note trip- notes are not chromatic (they all exist in the C the jazz lexicon, from Art Blakey and the Jazz lets to make the distinction clear), though in bar mixolydian mode), they outline a Gm7 arpeg- Messengers’ 1959 Blue Note album Moanin’. 21 it’s a backwards swing. We even hear small- gio, rather than the C7 that’s occurring at the The song is a slow swing, though not slow er subdivisions, such as 32nds (bars 21, 23, 26 time. So it’s not all the way “outside” but not enough to be a ballad. One thing that immedi- and 28–31), 16th-note triplets (and sextuplets, totally “inside,” either. Golson is slowly intro- ately stands out is Golson’s comfort with com- which are the same, just notated to make read- ducing more harmonically sophisticated ideas.

104 DOWNBEAT FEBRUARY 2018 It isn’t until bar 12 that he goes fully “out- F7, Golson makes some interesting choices. side.” Building on the idea introduced in mea- After the initial G natural, he outlines an F# sure 10, Golson plays an A arpeggio, but on a minor triad (9, 3 and #5 of the F), resolves to Gm7 chord. This produces the 9th, #11th and a high F, descends chromatically to the #5 and 13th, all extensions, one of them altered. Two then goes down a F#m(maj7) chord. This is a measures later we have another example of this very “outside” sound to be playing on this har- kind of thinking when Golson plays essential- mony, the most “out” Golson has gone, and for ly a Bm(maj7) arpeggio on A7. Two of the notes the longest time. (A, C#) are chord tones, but the other two (B, The following bar starts out more tamely, F) are alterations (9, 6 or #5). This line is espe- with some chord tones connected with a chro- cially effective as it’s an alteration of the very matic run, but the second half of the bar goes “inside” lick on the F chord in the previous bar. way “outside” again, ending with an E6 arpeg- Golson starts tempering his dissonance— gio. Just like the F+ in measure 26, this provides bar 19 has the F#dim7 arpeggio on D7, which a resolution to the E7 in the next bar, taken is in essence D7(9) without the root, and bar up mostly by an E7 arpeggio, a very “inside” 20 has the natural seventh and flat fifth on the sound, providing contrast. Gm7, but is for the most part a Gm sound—and Golson has used both rhythmic and har- stays within the scale/chord relationships for monic/melodic devices in ingenious ways to the most part. We have another gasp of “out- increase and decrease the tension throughout side” in the last beat of bar 26, where there is an this improvisation. That he’s done so on a tune F+ triad played against the E7. Though seem- with a 34-bar form (instead of 32) and some ingly very “outside,” this works well as F is the tricky chords changes is testament to Golson's V of Bm, the chord coming up. So although it improvisational skills. DB is dissonant, it resolves cleanly to the approach- ing harmony, setting it up. Jimi Durso is a guitarist and bassist based in the New York The big blast comes in measure 30. For an area. Visit him online at jimidurso.com

FEBRUARY 2018 DOWNBEAT 105 Toolshed Blue Microphones Raspberry Studio Great Sound in a Portable USB Mic lue Microphones’ Yeti is a popular USB mic that offers a lot of Bversatility at a competitive price. Now Blue has introduced a new microphone, the Raspberry, which offers many of the same fea- tures, and some new ones, in a portable package. The Raspberry has a nice vintage aesthetic and feels very solid. The body is metal, with a grille that wraps over the top and a bottom half wrapped in red leather, giving it a premium look. It has an attached desktop stand, which folds around the mic for stor- age and supports it well. Four rubber pads aid in suppress- ing vibrations when in use. Should you need to mount the Raspberry to a traditional stand, Blue provides an adapter that can be used in place of the desktop stand. There is an LED on the front to monitor your signal, and the back has a USB port and a headphone jack, to be used for latency-free monitoring. you need it at this size. The Raspberry is cardioid pattern only, unlike the Yeti, and this makes I also tested some musical material through the mic—a grand piano in sense for desktop recordings. It comes with a USB cable and a Lightning the room and a few acoustic guitars. The mic captured what was happen- cable, and is plug-and-play with computers and iOS devices. The mic is rec- ing quite well, and while I might not use it for these applications for a final ognized as an input source for most iOS recording software right away, so recording, it was definitely up to the task of getting a decent sound from you are ready to go in minutes. both. The IAD did dampen the room sound a bit versus other mics, which One of the interesting features of this mic is the Internal Acoustic may or may not be a good thing when recording an acoustic instrument, Diffuser (IAD). This is a diffuser system, similar to what you might see but it all sounded very musical. I also sang into it a little, and once I got the mounted on the walls of a studio or concert hall, but shrunken down and gain set correctly, it worked well for this, too. The vocal was clear and pleas- mounted inside the grille. The idea here is to reduce the amount of room ing, and sounded like it was coming through a mic costing several times reflection at the input stage, even in uncontrolled surroundings—incredi- the price. As a portable mic, the Raspberry has it all covered. bly useful for a portable mic. I tested it out in a few different rooms of vary- The “Studio” part of the package includes a copy of PreSonus’ excellent ing “liveness” and found it to be very effective. This is a killer feature for Studio One DAW and Izotope’s Ozone 7 Mastering software, which con- any style of recording. stitute a solid workflow for making finished recordings. The Raspberry is a small mic, as one would expect from something All in all, the Raspberry is a very well designed mic for anyone who designed around portability, and this can be both a strength and a weak- needs portability. If you are always in the same recording space, and have ness. It's easy to fit on a crowded workspace, and it folds up to about the size ample room to work, other options might be a better fit (including the Yeti), of an iPhone (but twice as thick). The downside is that it is hard to get the but the Raspberry sounds great and has features that make it hard to beat. mic right up to your mouth on the attached stand. But, you can use it with —Chris Neville a regular stand if you choose, and there are a million ways to get it to where bluedesigns.com

Zoom LiveTrak L-12 Digital Mixer On-Location Multitrack Recording y first Zoom product was the original H2 two-channel pocket sends, these are all adjusted in one common area. There is a “select” but- Mrecorder. I still remember how impressed I was with the play- ton to make a channel active, and then you make adjustments in the com- back quality when I first started doing field recording proj- mon channel-strip section. The L-12 then saves the settings for that chan- ects with it. Fast-forward a touch over 10 years, and Zoom’s latest piece nel when you select another channel for editing. And while there are no of recording gear—the LiveTrak L-12 Digital Mixer—is aimed at making automated faders, Zoom does a nice job of using the lights to show you on-location multitrack recording as easy and accessible as possible. where your settings are as you move from channel to channel. The LiveTrak L-12 makes it possible to mix, record and monitor with a This is also how Zoom can provide five separate headphone mixes in a single piece of gear. The “12” in the name represents the total number of small package. There is a fader mode section that goes between master and tracks you can record at one time. There are eight channels of XLR/TRS one button for each headphone mix—a total of six buttons. Say, for exam- and two channels that each accept a stereo input. The highest recording ple, you want to edit the mix for headphone E (they are labeled “A” through format available is 96kHz/24-bit. One of the LiveTrak L-12’s more impres- “E”). Simply select “E” in the fader mode section and adjust the faders and sive features is the ability to have five individual custom headphone mixes. settings to your liking. When you go back to master mode, E’s settings are Zoom packs a large number of features onto this small board by having saved, and again the level lights on the fader channel itself do a good job of shared sections. While each channel has pan, three bands of EQ and effects telling you where your levels are in your current active fader mode.

106 DOWNBEAT FEBRUARY 2018 Robert Hurst Another thing that makes this unit incredibly versatile is the ability to act as a standard SD recorder so you can record straight to the unit itself. Or, as with other Zoom recorders, you can use it as an audio interface for your DAW. So at that point, you are bypassing the SD card (although there are options for doing both at the same time) and recording right into your computer. This takes an addi- tional driver download from Zoom, but setup and installation for use as an audio interface went quickly and easily. While in interface mode, it is possible to send audio back to the unit for your DAW and have it come in on one of the two stereo channels by pressing the USB button on that channel. This is useful for podcasters who want to play cued-up audio, or if there is exist- ing audio in your DAW that you want to be able to track alongside. A small backlit screen helps you navigate through modes and setup projects; if you’re familiar with other Zoom products, this screen will look familiar. By going through the various options on the screen, I was able to find a few nice surprises. There is a click-track mode and also a built-in slate mic to record comments or talk-back. Zoom is dubbing the preamps on the LiveTrak “the quietest and most My only two qualms were that Zoom doesn’t provide an SD card, and advanced preamps we’ve ever made,” and at this price point, with so many the documentation is a little thin. It took a few swings to wrap my head features packed in, it’s a very worthy contender for anyone looking for a around how the headphone settings worked. That said, there are plenty of tracking/playback/interface solution. —Matt Kern online resources available, should you need them. zoom-na.com

Touch Block

Lightpad Block M Seaboard Block ROLI Blocks New Controllers, Intriguing Possibilities OLI has made some big waves over the last few years. The company’s as well as ROLI’s Equator Player, Strobe2 Player, Ableton Live Lite, Traktion Rmulti-dimensional Seaboard GRAND controller was revolutionary. Waveform, Blocks Dashboard and Max DSP for Mac and PC. The Noise Then the Seaboard RISE brought the same astounding level of con- software sounds great, and the patches are designed to take advantage of the trol at a fraction of the price. Now, with the introduction of Blocks, ROLI playing surfaces, but it is also limited. It has no overdubbing capability, and has embarked on a new type of controller. I play-tested a system consisting there is currently no way to export tracks to other software or platforms. of ROLI’s Lightpad Block M, a set of Control Blocks and a Seaboard Block. On the computer, however, we have a different scenario. Equator is The main unit of the Blocks system is the Lightpad, or the Lightpad programmable to a ridiculous depth, and you can make some crazy fun M—touch-sensitive control surfaces measuring 3.7 inches square and .86 sounds using it. Strobe2 is similarly powerful. These are both “player” inches deep. The top layer is a spongy and silky latex-type material that versions but can be upgraded for a small price to the fully programma- enables access to ROLI’s five dimensions of touch control (through MPE ble synths. Blocks Dashboard allows you to set up how Blocks will inter- MIDI messages), to which several synths can respond. The Lightpad Block act with any software, and it comes with a few templates that really start to M has 225 “microkeywaves” on the surface, based on the keywaves of open up the possibilities. ROLI’s Seaboard line, each with its own high-intensity LED. These LEDs The Control Blocks are designed to give you access to features without enable the Block to reconfigure its visual surface in a myriad of ways to suit having to go to your iOS device. The buttons on the Live and Loop Blocks the way you control your software. All of the Blocks can snap together using allow you to switch parameters on the fly. The Touch Block gives you con- ROLI’s proprietary magnetic connectors, so you can continually add pieces. trol over how your Block will respond to the five dimensions of touch. The Lightpad Block M feels wonderful. I have not used the original The Seaboard Block is a two-octave Seaboard-style keywave controller. Lightpad Block, which is still available, but that surface was more rigid (it It has many of the same properties as its bigger siblings, but the keywaves was hard to control pressure with it). The Lightpad M addresses this nice- are smaller, and flat on the top, which I found a little harder to play. ly with the additional depth of its playing surface. This enables you to not Looking at Blocks as a whole, I see tremendous potential. Running only slide freely between notes, but to control vibrato and open and close programs like Ableton with an infinitely configurable control surface that filters, or switch samples—whatever parameters you wish to manipulate. can expand as you need it is an intriguing idea. —Chris Neville The Lightpad Block M is bundled with ROLI’s Noise software for iOS, roli.com

FEBRUARY 2018 DOWNBEAT 107 2

GEAR BOX

1. Classic-Style Condenser 1 Warm Audio’s WA-14 large-diaphragm brass capsule condenser microphone is based on a classic condenser mic from the 1970s. It utilizes fully discrete, classic circuit topology, including an all-brass CK12-style capsule design and a custom CineMag USA transformer. The WA-14 can be used on a variety of sound sources, including intimate lead vocals, aggressive guitars and heavy percussion. warmaudio.com 2. Audio Clarification A complete ready-to-install solution, Prosocoustic’s WaveRoom kits are suitable for any location where better audio clarity is needed. Each WaveRoom kit is designed for effective coverage of up to 100 square feet and includes Wave hybrid panels with mounting hardware. Additional booster kits with 2- by 4-foot or 2- by 2-foot panels can be added for larger spaces. prosocoustic.com 3. Desktop Interfacing The latest member of Tascam’s US series of USB 2.0 interfaces, the US-1x2 delivers 24-bit/96kHz desktop recording. The unit’s XLR microphone input employs 3 Tascam’s Ultra-HDDA mic pre-amp, making the US-1x2 a suitable choice for use with most microphones. tascam.com 4. Hi-Def Clip-On Tuner The Peterson StroboClip HD has the same 10th-of-a-cent accuracy as all Peterson Strobe Tuners. This versatile tuner comes with a bright high-definition screen, more than 50 Sweetened tunings, alternate temperaments for a vast array of string and wind instruments, and soft rubber- lined jaws to protect your instrument's finish while offering a firm grip for maximum signal tracking. petersontuners.com 5. Talkin’ Back Radial Engineering’s Studio-Q is a compact desktop talk-back/cue system. Each mic is equipped with an individual trim control along with a master mic volume (which can also be remotely activated using a JR1 mute footswitch). Once depressed, the signal is routed to the studio headphone system. The program signal path is balanced for easy integration with any console and features a fully variable level 6 control on the front panel. radialeng.com 6. Honest Representation Mackie has refreshed its MR series powered studio monitors. Appropriate for home studios, the MR series is available in the 5-inch MR524, 6.5-inch MR624 and the 8-inch MR824, plus the 10-inch MRS10 companion powered subwoofer. Featuring precision transducers and high-performance amplifiers, MR series monitors deliver an honest, accurate representation of the mix. mackie.com

108 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 109 Jazz On Campus School Notes GREG GERLACH COURTESY VANDERBILT UNIVERSITY

University of Kentucky Jazz Ensemble

UK Jazz: Mark Records has released the University of Kentucky Jazz Ensemble's On The Road and the University of Kentucky Mega-Sax Ensembles' Stinkin' 3.0. The latter (foreground, right) works with a student at Vanderbilt University’s Blair School of Music in Nashville. album features musical direction by Miles Osland and Dr. Ian Cruz with contributions from special guests Tony Dagradi, Jeff Driskill Blair Students Get 1-on-1 Training and Jeff Coffin. finearts.uky.edu THE STORY OF JAZZ STUDIES AT pre-med students, engineering majors, in big Icons Booked: Rowman & Littlefield has pub- Nashville’s Vanderbilt University begins with band,” Middagh said. “And they help bring so lished Experiencing Chick Corea: A Listener's Billy Adair. After joining the Blair School of much joy and passion into the music.” Companion by Monika Herzig, a musician and Music faculty in 2002, he was soon promoted They also bring perspectives that might not senior lecturer at Indiana University. Rowman's to chair its Jazz and Folk Music department. be so accessible in a more conservatory-ori- series also includes the books Experiencing From that point until he succumbed to cancer ented setting. As an example, Middagh men- Bessie Smith by John Clark, a musicologist, in February 2014, Adair earned the respect and tioned Emmett Haden, an engineering under- educator and performing musician in the Bos- affection of his colleagues and students, not just grad who’s a talented trumpet player. “In one of ton area; and Experiencing Ornette Coleman for his administrative and teaching skills but his classes he was analyzing sound waves from by , a drummer and author also for his emphasis on character as an essen- his trumpet as they interacted with different who teaches writing at Bloomsburg University. rowman.com tial component to musicianship. mutes. Once he’d gotten his data, he brought the Few people were more aware of Adair’s recordings to me for my thoughts on their musi- Educational Exchange: The Jazz at Lincoln achievements than composer, arranger and cal quality.” Center Youth Orchestra makes its internation- saxophonist Ryan Middagh, who was appoint- With the number of participants in the al debut at the Barbican in London on Feb. ed to succeed him as head of the Blair jazz Blair jazz program increasing from less than 27–March 1. As part of the bi-annual Jazz at program. “No one could replace Billy Adair,” 60 in 2014 to around 140 today, Middagh has Lincoln Center Orchestra with Wynton Marsalis Middagh said. “But I had some ideas of my own brought more instructors on board to maintain residency at the Barbican, 22 New York-area on how to take this program to a new level.” the low student-to-teacher ratio. Because most high school jazz musicians will spend a week As director of jazz studies, Middagh has of them work full-time as musicians them- abroad for a music and cultural exchange with public performances, workshops and jam built on Adair’s mission of offering both world- selves, some teachers have had to be creative in sessions. The collaboration will bring together class music instruction and broader preparations how they instruct and mentor. the JLYCO, led by JLCO saxophonist Ted Nash for life in the real world. The cornerstone to this For instance, when Jeff Coffin was named and New York trumpeter Tatum Greenblatt; approach involves guaranteeing maximum one- adjunct instructor of jazz saxophone, he was National Youth Jazz Orchestra of Scotland; on-one communication between teacher and about to begin a six-week European tour with and young musicians from The Guildhall Jazz student. Based on his own past experience, this the . This gave him time Orchestra for a world-premiere concert event is in fact the priority for Roland Barber, adjunct to meet just once with each student who had at Milton Court Concert Hall at the Barbican professor of trombone and jazz studies. signed up for private lessons. After that, he Centre on March 1. barbican.org.uk “When I was in college, I was told that the routinely communicated with his students via Calling All Coaches: UCLA's Herb Alpert only thing that would really matter in 10 or Skype and FaceTime. School of Music will host Ensemble Coaching 15 years was who I took private lessons with,” “That’s another thing we’re proud of,” with Hitomi Oba's Contemporary Jazz Ensem- Barber recalled. “That’s not the way it is here. Middagh added. “If you want to study jazz ble on Jan. 18. The visiting group will interpret Everything we offer makes a difference: the pri- saxophone, you’re gonna study with Jeff. You Jon Jang's piece Reparations Now! Concerto vate lessons, the improv classes, the arrange- want to study jazz brass, you’re gonna study For Large Music Ensemble And Taiko in com- ment classes. Even if you’re not a music major, with Roland. And if you want to broaden the memoration of the 30th anniversary of the the entire curriculum will give you a personal base of your musical education, the ‘Blair-to- Civil Liberties Act and the victory by Japanese experience that will matter in whatever you do Owen’ program gives you an accelerated three- Americans for redress and reparations. The with your life.” year music degree and then allows you to trans- event, which starts at 6 p.m. and is free to the From the small groups to the big band and fer it over to the Owen School of Business for public, will take place in the Schoenberg Music Building. schoolofmusic.ucla.edu the jazz choir, every ensemble includes mem- an MBA. A music degree and an MBA in five bers from a variety of degree programs. “I have years—that’s pretty sweet.” —Bob Doerschuk

110 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 111 For Rates: call (630) 941-2030. All ads are prepaid, no agency commission. Check, money order, and all major credit cards are accepted. Deadline: Ad copy and full payment must arrive 2 months prior to DB cover date. DB Music Shop Send your advertisement by MAIL: DownBeat Classifieds, 102 N. Haven Road, Elmhurst, Illinois, 60126, EMAIL: kmaher@ downbeat.com, FAX: (630) 941-3210.

ALBUMS & VIDEOS BOOKS

New biography of Anita O'Day: RPC SAXOPHONE MOUTHPIECES JAZZ, GENIUS AND JAIL Old School handcrafted mouthpieces. www.emilyprod.com Love for the sound of the saxophone and helping my customers is my passion. Contact: Ron Coelho; 360-887-3807 JAZZ DVD’S / VIDEO INSTRUMENTS & ACCESSORIES www.saxmpc.com 1,300 Concerts, Documentaries, TV, Instructional. DVDs, Videotapes or, Laserdiscs. FREE CATALOG: JAZZWEST, SERIOUS CD STORAGE JOE SAX Box 3515 (DB), Ashland, OR 97520 Save space by replacing bulky Woodwinds (541) 482-5529 www.jazzwestdvd.com jewel boxes with the Jewelsleeve. Known worldwide for expert repair Call for a free sample at 1-800-863-3312 Always a great selection of used instruments or visit www.jewelsleeve.com www.joesax.com (800) 876-8771 (607) 865-8088

Sheet music folders, cases, storage boxes, big band/jazz ensemble music stands, lights. Domestic and International Shipping. WEB-BASED SINCE 1999. 800-777-7871 • [email protected] www.MusiCity.com

LESSONS ONLINE JAZZ LESSONS. Study all styles & aspects of jazz improvisation and saxophone with VINYL JAZZ AT SET PRICES Jeff Harrington, Berklee Professor, MIT Over 30,000 rare, out of print Vinyl JAZZ LPs at Affiliated Artist, Harvard University MLSP set prices, searchable on our web site. Over Instructor. www.jeffharrington.com 40 years Email: [email protected]. of service. Foreign inquiry welcomed. 617-332-0176. Also rare jazz publications and literature sold. Gary Alderman G’s Jazz Inc. P.O. Box 259164 Madison, WI 53725 USA e-mail: [email protected] www.gjazz.com www.vinyljazz.com STUDY JAZZ PIANO ONLINE www.JazzPianoOnline.com

Walking Play-Along JAMEY AEBERSOLD SUMMER Tracks Available at JAZZ WORKSHOPS www.openmindjazz.com/ Voted #1 jazz camp by thecelebritycafe.com! walking Visit www.summerjazzworkshops.com for more infomation.

112 DOWNBEAT FEBRUARY 2018 DB Buyers Guide

Adams Music ...... 111 ECM Records ...... 12 P. Mauriat ...... 115 adams-music.com ecmrecords.com pmauriatmusic.com

All Parts ...... 105 Elmhurst Jazz Festival ...... 18 Porgy & Bess ...... 75 allparts.com elmhurst.edu/jazzfestival porgy.at

Andy’s Jazz Lounge ...... 64 Evans ...... 116 RC Williams ...... 10 andysjazzclub.com evansdrumheads.com rcwilliamscompany.com Antigua ...... 21 George L’s ...... 4 Reed Geek ...... 8 antiguawinds.com georgelsstore.com reedgeek.com ArkivJazz ...... 15 GroundUp Music Festival ...... 41 arkivjazz.com groundupmusicfestival.com Sam Ash ...... 17 samash.com Bach Dancing & Dynamite Hartke ...... 103 Society ...... 67 hartke.com Scat Jazz Lounge ...... 63 bachddsoc.org scatjazzlounge.com Hot Club Du Portugal ...... 75 Bari ...... 4 hcp.pt Sher Music ...... 10 bariwoodwind.com shermusic.com Igor Butman Music Group ..... 75 Bimhuis...... 71 butmanclub.ru Skidmore ...... 24 bimhuis.com/downbeat skidmore.edu/summerjazz Ivo Perelman Music ...... 16 BLU Jazz+ ...... 65 ivoperelman.com Smalls Jazz Club ...... 57 blujazzakron.com smallslive.com Jazz Education Network ...... 76 ...... 5 jazzednet.org bluenote.com Snug Harbor ...... 61 jazzahead! ...... 28 snugjazz.com Blue Microphones ...... 109 jazzahead.de bluedesigns.com StockwerkJazz ...... 73 JJ Babbitt ...... 23 stockwerkjazz.mur.at Cannonball Music ...... 7 jjbabbitt.com cannonballmusic.com ...... 79 sunnysiderecords.com Casio ...... 37 JodyJazz ...... 9 jodyjazz.com casiomusicgear.com The Jazz Corner ...... 61 Chicago Jazz Orchestra ...... 30 Kawai ...... 27 thejazzcorner.com chicagojazzorchestra.org kawaius.com The Jazz Kitchen ...... 63 Consolidated Artists Kuumbwa Jazz Center ...... 65 thejazzkitchen.com Publishing ...... 20 kuumbwajazz.org jazzbeat.com The Kennedy Center ...... 58 Lobero Theatre ...... 65 kennedy-center.org Crooner’s Lounge ...... 64 lobero.com croonersloungemn.com Universal Audio ...... 31 Mack Avenue ...... 19 uaudio.com Dick Brewer Music ...... 29 mackavenue.com Vandoren ...... 3 Mark Perna Music ...... 8 Dièse Onze ...... 73 wearevandoren.com dieseonze.com markpernamusic.com Dot Time Records ...... 20 MCG Jazz ...... 51 Venue505 ...... 71 dottimerecords.com mcgjazz.org venue505.com DownBeat ...... 52, 94 Mons Records ...... 25 Viscount Instruments ...... 43 downbeat.com edpartyka.com viscountinstruments.us Eastman Winds ...... 2 Music Dispatch ...... 11 Yoshi’s ...... 67 eastmanwinds.com musicdispatch.com yoshis.com

FEBRUARY 2018 DOWNBEAT 113 Blindfold Test BY DAN OUELLETTE Tia Fuller

axophonist Tia Fuller took her first DownBeat Blindfold Test in CRAIG LOVELL Sfront of a live audience at the Monterey Jazz Festival on Sept. 16. For the past five years, Fuller has been teaching ensemble classes at the Berklee College of Music in Boston, and her fourth Mack Avenue album will be released in 2018. Fuller performed at the festival with her quintet and guest trumpeter Ingrid Jensen. Lou Donaldson “Light-Foot” (The Best Of Lou Donaldson, Vol. 1: 1957–'67, Blue Note, 1993, rec’d 1958) Donaldson, alto saxophone; Herman Foster, piano; , bass; Jimmy Worm- worth, drums; , congas. I’m thinking the time period must be the mid-’50s, post-Bird. The lan- guage is extremely hard-bop that is branching off from Bird. Is it ? I loved it. It’s very much anchored in the tradition of the lan- guage of jazz during that period. The drummer sounds like , but I’m not familiar with this recording. There’s not a lot of nuance in the playing, but it is straight from the meat-and-potatoes of jazz. Oh, Lou Tia Fuller takes the Blindfold Test in front of a Monterey Jazz Festival audience. Donaldson? [after] I just heard him at the Charlie Parker Jazz Festival music is that our ears continue to grow and evolve where [in New York]. Yes, this makes perfect sense. He has an edgy sound that’s what seemed ugly before has complete relevance now. anchored in post-bop. Greg Osby Henry Threadgill “Six Of One” (Further Ado, Blue Note, 1997) Osby, alto saxophone; Jason Moran, piano; “Paper Toilet” (Too Much Sugar For A Dime, Axiom/Island, 1993) Threadgill, alto saxo- , bass; Eric Harland, drums. phone; Mark Taylor, French horn; Masujaa, Brandon Ross, electric guitars; Edwin Rodri- It’s Greg Osby. It’s home-field advantage to me because I had taken a cou- guez, Marcus Rojas, ; Gene Lake, drums. ple of lessons from him. His approach is that he never wanted to sound I have no idea. Because of the content of the vibe and instrumentation like anybody else. He had a couple of different approaches, like playing and the multi-meters, it could be Steve Coleman. But I knew it wasn’t intervallically. He’d take a minor third and a half step and allow that to him once he started soloing. The sound is rash, intense and growling. I be the strength of his solo—how he interweaved that within his solo. To loved it because it was pushing the boundaries. me, he’s a direct extension of Dolphy in lots of ways. He’s coming from Melissa Aldana a very cranial place in his approach, but then there’s his level of facility. “Alegria” (Back Home, Wommusic, 2016) Aldana, tenor saxophone; Pablo Menares, bass; Jochen Rueckert, drums. Steve Coleman’s Natal Eclipse This was beautiful. The vibrato reflected that he or she was definitely “Dancing And Jabbing” (Morphogenesis, Pi Recordings, 2017) Coleman, alto saxo- phone; Maria Grand, tenor saxophone; Jonathan Finlayson, trumpet; Rane Moore, younger. There are a lot of cats on the scene who have that sound, like clarinet; Kristin Lee, violin; Matt Mitchell, piano; Greg Chudzik, bass; Jen Shyu, vocals. Mark Turner when he gets in the upper register. It was reminiscent of I think I know who this is—Steve Coleman. [after] I’ve checked out Steve that. [Fuller is informed that the artist is a woman.] Well, that’s definitely over the years. He likes playing with trumpets and vocals with all those Melissa Aldana. I heard her a couple of months ago when we were doing intersecting harmonies. Compositionally, it’s very much his style. Very a recording with Terri Lyne Carrington. I remember the context of what intense. Tonally, his saxophone sound is very clear. Melissa was playing and the control she had on the horn. He and Greg Osby are from the same school. They have similar Another thing is the classical element. I know Melissa studied classi- vocabularies, but their sounds are different. Greg is a little more round cal music. You can hear that when she went into the upper register. It was and fluffy, and Steve’s sound has a sharper harmonic edge. Steve also really even. That blew me out. The core of her playing blew me out, too, always hangs on a note at the top so he can keep the sonic tension. That especially in the 16th notes. was a characteristic of his playing. Eric Dolphy “Fire Waltz” (Eric Dolphy With Booker Little: At The Five Spot, Vol. 1, New Jazz/Prestige/ “Twisted” (Wardell Gray Memorial, Vol. 1, Prestige, 1992, rec’d 1949) Gray, tenor saxo- Concord, 2008, rec’d 1961) Dolphy, alto saxophone; Booker Little, trumpet; Mal Wal- phone; Al Haig, piano; Tommy Potter, bass; Roy Haynes, drums. dron, piano; Richard Davis, bass; Ed Blackwell, drums. I feel like I’ve heard this recording, but I can’t recall who it is. Is it [Sonny] Eric Dolphy. His sound to me is like liberation. He’s able to access so Stitt? Gene Ammons? It’s another meat-and-potatoes of jazz history. much of the history and also the avant-garde era, and make the balance That’s why I feel like I’ve heard this. An[ audience member guesses cor- between the two, not only in content but also in the way he stretches his rectly] Oh, yeah, that’s “Twisted.” I definitely liked it because I knew this intonation. It’s a little bit sharp, a little bit flat as he bends the notes. In tune. My mom’s a vocalist, and I remember her singing it. That’s just a getting around his horn, he has a technical proficiency that he doesn’t byproduct of my upbringing. DB necessarily lean on all the time. It’s used as a tool to liberate his voice. The last phrase of this piece—where he went into the upper octave then went down to a low B-flat—is about complete liberation to me. He’s The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is stretching the boundaries. When I first heard him, I didn’t like him then asked to rate each tune using a 5-star system. No information is given to the artist because he sounded “out.” It didn’t make sense. But the beauty of this prior to the test.

114 DOWNBEAT FEBRUARY 2018 FEBRUARY 2018 DOWNBEAT 115 116 DOWNBEAT FEBRUARY 2018